PDF - Cyclic Defrost

ISSUE 8
CONTENTS
4
COVER DESIGNER: MARK GOWING
by Bim Ricketson
6
PO Box a2073
Sydney South
NSW 1235 Australia
PURDY
by Sebastian Chan
10
CITY CITY CITY
by Bob Baker Fish
We welcome your contributions
and contact:
11
ANTHONY PATERAS
by Bob Baker Fish
14
PABLO DALI
by melinda Taylor
[email protected]
www.cyclicdefrost.com
ISSUE 9 DEADLINE: AUGUST 12, 2004
16
Publisher & Editor-in-Chief
Sebastian Chan
COLDCUT
by Clark Nova
18
Art Director & Co-Editor
Dale Harrison
LALI PUNA
by Peter Hollo
20
TORTOISE
by Matt Levinson
23
MP3 AESTHETICS
by Vaughan Healy
26
MUSIC REVIEWS
38
SLEEVE REVIEWS
by Alex Crowfoot
40
SELECTS: MUSIC VS PHYSICS
by Dale Harrison
42
DEAR DEGRASSI
Sub Editor
Aparna Khopkar
Reviews Editor
Dale Harrison
Advertising
Sebastian Chan
Advertising Rates
download at www.cyclicdefrost.com
Distribution
Inertia Distribution
www.inertia-music.com
Printing
Torch Publishing
Web Programming
Giv Parvaneh, Qbique www.qbique.com
Web Design
Luke Elwin, Qbique www.qbique.com
Web Hosting
Blueskyhost www.blueskyhost.com
Guest Cover Design
Mark Gowing
Issue 8 Contributors
Jordan Spence, Bim Ricketson,
Vaughan Healy, Alex Crowfoot, Melinda
Tayor, Bob Baker Fish, Lawrence
English, Tim Levinson, Matt Levinson,
Tim Colman, Peter Hollo, Damian
O’Keefe, Ron Schepper, Dan Collins,
Barry Handler, ollo, Lawrence English
Thank You
Grace Chan for blessing us with your
presence, Nick, Ash, Justin, Ruby,
Chloe @ Inertia, Natalie & Noel @
Torch Publishing, Giv @ Qbique, Chris
Bell at Blueskyhost, and all our advertisers. This issue is dedicated to the
memory of Paul Rodwell.
Stockists
NSW: Victory Music, Bloody Fist, Plum Music, Market Music,
Troy Horse Rock Shop, Hi Fidelity Lounge, Salamander Sound,
Spot Music, Redback, Spank, Music @ Byron, Hum on King,
Hum on Miller, Hum on Oxford, Leading Edge Warriewood,
360 Sound, Leading Edge Penrith, Mall Music, Electric
Monkeys, Fish - Newtown, Fish - Glebe Music, Bizarre,
Euphoria, Freestyle, MCA, Metropolis ,Recycled,Explore
Music, Disc, Reefer, Record Store NSW, So Music, Red Eye
Victoria: Licorice Pie, Slap, Readings Carlton, Northside,
Kent St, CC Geelong, Recycled, Missing Link, JF Porters,
Boston Sound, Voyager Port Melbourne, Record Collectors
Corner, Second Spin Tech, Voyager Ivanhoe, Greville, Sister
Ray, Polyester, Synaesthesia, Central Station Melbourne,
Substrata, Gaslight, Raouls, Kriskay
ACT: Impact, Landspeed
Queensland: Skinny's, Rockinghorse ,Butter Beats,
Sunflower, Toombul Music, Alleyway, Cosmic Music,
Leading Edge, Music Scene
Western Australia: Dada's, Mills, Central Station Perth,
Planet Video, Chinatown Records
South Australia: Muses, Big Star, B Sharp, Chatterbox,
Uni Records
Tasmania: CD Centre, Ruffcutt, Wills Music, Aroma
NT: Casuarina
If your store doesn't carry Cyclic Defrost then get them to
order it from Inertia Distribution
CDITORIAL
Welcome to issue 8 and the end of our second year. It has been a
upward curve since Sonar last year, and Cyclic Defrost is back at Sonar
this year and continuing to build connections with Europe. Good
Australian electronic music has been starting to spread more broadly
overseas and the next couple of months sees the number of Australian
acts overseas growing substantially.
This issue’s cover art is by Sydney-based graphic designer Mark
Gowing, whose logos and other work should be familiar to a lot of
Sydney locals. Inside you’ll find interviews with the old guard – Kevin
Purdy, Coldcut, Tortoise’s Jeff Parker, as well as the spring chickens –
Perth’s IDM youngster Pablo Dali, Melbourne post-rockers City City
City, Lali Puna and Anthony Pateras. After the continual hectoring
about MP3 politics in previous issues, one of our writers, Vaughan
Healey finally got hold of an iPod for a fortnight and went about trying
to learn the art of iPod krumping, and Degrassi gives solid holiday tips.
By the time you’ve waded through those in this 44 page bumper issue,
you’ll come to the treasure chest of reviews and this issue’s sleeve
design look at embossing.
There’s so much that couldn’t fit in this issue, including an even
greater number of reviews – some for some very important releases
that just couldn’t be squeezed in. We’re trying to add those to the
online version over the next month or so, and some will run in the
next issue. Our other news for this issue is that Cyclic Defrost has
received some additional funding from the Australia Council for the
Arts to help us keep our advertising rates down and continue for
another 4 issues. Also, we will be putting out a double CD compilation
in early 2005 for which there will be a call for submissions on the
website and in issue 9 (September). Get in touch, Issue 9 is up next.
Sebastian Chan & Dale Harrison
Editors
Extended articles
Downloads of featured artists
ISSUE 8 EXCLUSIVE WEB CONTENT:
reviews of Koji Asano, Backfeed Slumber,
Cornelius, Scanner, AGF, Sun Ra,
Giardini di Mirò, Kid Spatula, Pensive
Platforms Comp, DJ Shortkut, Illogic,
Music vs Physics plus more
www.cyclicdefrost.com
The views contained herein are not necessarily the views of the publisher nor the staff of
Cylic Defrost. Copyright remains with the authors and/or Cyclic Defrost.
A New Audiences project,
assisted by the Australia Council, the
Federal Government's art funding and advisory body,
through its Audience and Market Development Division.
Handmade compendium for
Hopscotch Films
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Escaping from the cold wind into a big old warehouse in Redfern, I’m struck by the size of Mark
Gowing’s studio, which he has all to himself. ‘I
just like having the space,’ he shrugs. Recent
photographs are piled in neat stacks on generous bare desks, a retro digital clock tells the
wrong time and a pad of hand sketches lies
beside a couple of immaculate Macs. An impressive and inviting workplace.
Mark Gowing, designer of this issue’s front cover,
got a very early start as a working designer, leaving school at 16 to work as a junior at children’s
book publisher Scholastic. ‘As a kid I was fascinated by logos and typefaces and I used to copy
them from magazines with textas. My grandfather told me that what I was doing was called
commercial art (as it was at the time), and that
there was a part of commercial art called typography. My head started spinning at the idea of
designing logos and typefaces as a job. So that
was it. I knew what I wanted and went after it. I
never really liked school, so uni was never on
the cards – I just couldn’t wait to get started. I
did work experience at Scholastic when I was 15
and was offered the full-time position after volunteering there in my holidays.
‘The job was assisting the marketing art director in a then one-man studio. Within four years
the studio grew to eight people and I received all
my training from the art director, Peter Lee. I
stayed at Scholastic for seven years, and in that
time worked as art director for the Book Club,
Software and Trade divisions. I then took a job at
Next Media as art director of Hyper Magazine. I
chose this job as the magazine was a culturebased computer games publication and allowed
me to explore and experiment with design and
type in ways I had only dreamed of at
Scholastic. After four years working on various
publications and freelancing for the music industry, I left to start my own business.’
Gowing’s business now has an impressive
range of clients and media, most of it culture or
arts based. His work ranges from corporate identities and packaging to film campaigns, record
covers and photography. In his office I am shown
a sample of recent work, much of it recognisable
and all of it quality. Responding to my compliment Mark shrugs again. ‘Thanks, I do try. A
couple of years ago I decided I didn’t just want
to design, I want to be good.’
The first outstanding thing I spot in Mark’s
portfolio is a hand-made compendium for
Hopscotch Films. In keeping with the company’s
commitment to ‘real’ films, Mark used fabrics and
found materials that related to each of the distribution company’s upcoming films, and each of
the 150 copies is individually handmade.
Accompanying a photograph and synopsis of
Good Bye Lenin!, for example, is some flocked
wallpaper and a page from a German novel. It
took Mark and a bunch of friends and work experience students many weeks and piles of materials to create, and although he drew no fee from
the project, it has led to an strong relationship
with Hopscotch, and Mark now designs campaigns for all their films. Especially proud of the
posters for Spellbound and Raising Victor Vargas,
Mark has also sold the designs of some of these
campaigns overseas. ‘Money for nothing,’ he says.
Mark also developed the distinctive Hopscotch
corporate identity and this year developed that
into a live promo for cinemas. Deliberately
avoiding the mega, 3D, animated, aural extravaganzas of other cinema promos, this is simply
the Hopscotch logo filmed as neon, sitting in an
urban park. Simple, real and a point of difference. Also immediately recognisable to Cyclic
readers are his corporate identities for Sydney’s
2SER and Inertia Distribution, both of which
have had recent updates and additions.
Mark’s has also designed artwork for a number
of releases in the last few years, including for
trip hoppers Lino, chart topper Groove
Terminator, indie rockers Big Heavy Stuff and
compilations of his own Preservation label. ‘I
started working with the music industry through
my contacts at Rolling Stone Magazine when I
was at Next Media,’ he says ‘I always wanted to
design record covers. I guess as a designer I saw
it as a way to somehow contribute to my love of
music. From there it just snowballed.’ Before
long Mark found himself designing for a major
label – but he soon found they weren’t nearly as
receptive to cutting edge ideas as perhaps their
European or American counterparts were.
Although lucrative financially, Mark moved
away from the frustrating majors for a number of
years and is only now considering putting his
hand up again. ‘Four years later, perhaps attitudes have changed,’ he says hopefully.
Much more satisfying are the record covers he
does for Preservation Records, which he co-runs
with Andrew Khedoori. ‘I met Andrew about six
years ago through mutual friends. Andrew had
worked at a few record labels, was then a freelance
music writer and is now the music director at
2SER. Andrew came to my house one day with a
copy of a beautiful recording by Sun, made up of
Oren Ambarchi and Chris Townend. When we
found out that Sun were having trouble finding a
label we decided to form a label and put it out.
‘Preservation is still evolving and is becoming a
good home for project-based works that might not
be financially viable at other labels. We have very
few boundaries on the kind of music that we will
release. We look for artistry and a uniqueness that
will make a recording interesting. In the past we
have released what might be classed as pop, avantgarde, electronic and folk. We have another folk
record on the horizon and an electronic piece in the
works. Andrew and I make most of the decisions
together. Andrew handles what you might call A&R
and publicity while, I handle a lot of the business
management as well as the creative direction.’
‘So far we have released work by Sun and a remix
disc of Sun featuring Mapstation, Pimmon, Tom
Recchion, Rafael Toral, Hrvatski, Norbert Möslang
and Christoph Heemann. Last year saw the release
of Rand and Holland and the Motion compilation of
22 Australian experimental and avant-garde musicians that included Candlesnuffer, Pimmon, Qua,
Joyce Hinterding, Ray Diode, Oren Ambarchi, Clue
to Kalo and Pretty Boy Crossover. This year we
have released a record by American folk/electronic
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artist Tara Jane ONeil. We are currently working
with Grand Salvo on a release for mid-year.’
For the cover of Cyclic Defrost, Mark wanted to
create something that represented what interested
him about design on a more experimental level.
‘Because there is no real brief or guidelines, I was
able to let go of the usual strategic design goals and
set more aesthetic ones. The photograph is one of
my own. It is a field solar panels in Switzerland. I
like the sort of super-technology/brave new world
tone of this place. The pattern printed over it is a
coded typeface that I have been working on lately.
When text is set in the coded typeface it becomes
more of a pattern than legible copy. It can still be
deciphered – the cover pattern reads “Cyclic Defrost
Magazine, Issue 8, Free”. I find this random pattern
generation interesting as the design is driven by
specific content and meaning, but the result seems
purely aesthetic.
‘The coded type is locked into a perfect square
controlled by the magazine proportions. This system
immediately removes the freedom to mess around
with free-form ideas, shapes or layouts. I also limited myself to a very small colour palette, with the
only criteria being that the pattern and type lift
Clockwise from Left:
Film poster for
Spellbound, Live &
Direct CD cover.
Photography for Glen
Street Theatre.
Above: a selection of
Mark’s logo designs
cleanly off the picture beneath. The type in the top
left corner hints at the content of the pattern as they
utilise the same colours. The combination of the pattern and photograph is based on nothing but tone.
There is no real meaning except for an overall sense
of technology. The matching of the angles is pure
coincidence.’
‘I am always inspired by purity and a dedication to
the execution of concept through the simplest form.
Aesthetically, I am excited by art. Especially within a
record cover context. Modern art is a constant inspiration when attempting to express musical content.
Finding the heart of a musical piece is the same
process as viewing a piece of art and embracing its
meaning – the two are one in the same.
‘My first objective is always to create an exchange
between the medium and the audience.
‘For most of my work I like to use a kind of arbitrary decision making theory: existing constraints
need to be embraced and new ones invented to minimise the number of aesthetic decisions. I like the
design process to work like some natural law of
inevitability: build in sufficient constraints and it
designs itself. However, a lot of record cover design
is a different process. I find that the packaging for a
recording is best approached as a material extension
of the music and is sometimes closer to art than it is
to design. The best results are tonal and largely
intangible in a conceptual or design sense.’
33 ARTISTS MARK GOWING LISTENS TO WHEN DESIGNING:
Smog, A Silver Mt Zion, Bob Dylan, Bonnie Prince Billy, Brian Eno, Brokeback, Clue to Kalo, Colleen, Do Make Say Think, Domenico De Clario, Duke Ellington,
Gene Clark, Gillian Welch, Godspeed You! Black Emperor, Grand Salvo, Iron and Wine, Jackie-O MotherFucker, Jim O’Rourke, John Coltrane, Judee Sill, Marvin
Gaye, My Morning Jacket, Neil Young, Original Harmony Ridge Creek Dippers, Radiohead, Richard Buckner, Savath and Savalas, Sigur Rós, Songs: Ohia, Sufjan
Stevens, Susumu Yakota, The Rectifiers, Wilco.
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Kevin Purdy has been around forever. Oscillating
between Sydney and Melbourne he is probably
best known at the moment for his psych-rock
influenced sampladelica, for his solo Purdy project and as a core member of Sydney three-piece
Tooth. He is a self-taught multi-instrumentalist,
as much a blues guitarist as a ProTools boffin.
His musical career stretches way back to the late
‘70s playing with some of the seminal Australian
post-punk and avant-rock outfits throughout the
‘80s, including the predecessor to legendary
Sydney band Box The Jesuit. Purdy’s story is one
of coincidence, constant experimentation and a
commitment to following your own path.
THE MADROOM YEARS (EARLY ‘80S)
The story begins in Sydney in the late ‘70s.
Kevin explains, ‘I was a bit of a late starter due to
the fact that every band I was in from the age of
11 broke up before they played their first gig. I
was living the rock n’ roll dream in my head. I’d
been playing some pretty mean drums since I
was about ten, plus collecting records, and generally being a manic music nut. It wasn’t till 1979
that I found a notice in a music store from Brian
Hall who was looking for other musicians with
similar musical tastes – Eno, Velvet
Underground, post punky stuff. Brian had a
Tascam PortaStudio, Roland Jupiter 6 and a Dr
Rhythm, could play guitar, bass and keyboard
quite well and was a very unusual. As it turned
out, he didn’t really want to play live… he’d
only played once in a car park in Sydney’s
Bankstown. Brian was really a classic bedroom
boffin beat head, mixed with a bit of Phil
Spector/Brian Wilson. When combined with my
take on things, it produced some very curious
results. Most of it was never released but we did
put out a cassette album under the name Aural
Indifference, titled The Sound of Indifference,
and a 7" on the M2 label which was a version of
“California Dreaming”.
‘Between us we spent thousands of hours in his
studio, doing all sorts of cut-up post punk, poppy,
Factory Records-style stuff, that made its way into
many households in inner city Sydney. Meanwhile
I hooked up with what was to become Madroom,
the precursor to Box The Jesuit. Back then Goose
had flaming red hair and was still known as a
journo around town. Suzie, his girlfriend wanted
to be part of the band so she was given a keyboard
with the letters of the notes written on corresponding keys. There was also bassist Paul Koff and his
girlfriend Karen, she wanted to sing, but was made
manager… that was a scary mistake. That left our
very own ‘Keith Levene’ [Public Image Ltd], Gary
Taylor, on guitar. We rehearsed for about nine
months, working through everything from Stooges
and Velvet covers, to our own Joy Division/Echo &
The Bunnymen/Roxy Music-inspired originals.
‘We ended up recording three tracks and releasing them independently as The Cruelty of Beauty,
a reversal of the Louis Nowra book, The Beauty of
Cruelty. It was launched at our first gig ever, at the
Exit club, which is now Candy’s Apartment, possibly the most re-named venue in the history of
Sydney. The place was packed. Double J (before it
became Triple J) had been making a big fuss about
it – we were their darlings for a while, until we
got too weird. That’s where former Double J presenter Tim Ritchie came into it for us. He loved
the weird shit and we couldn’t get weird enough
for him. Tim was a big supporter and friend and
even managed us for a couple of weeks.
‘Madroom went through lots of changes. I
began bashing things apart from drums, like
chairs and cookie tins, doing backing yelps and
mumbles, running homemade tape loops and
slasher guitar. We organised many happenings,
complete with performance art, Russian films, oil
lightshows and other craziness. We had hooked
up with others like Tex Perkins and Lachlan
McLeod, Peter Reid and Stu Spasm, who had an
ever-changing variety of bands, some of which I
was in, such as Chicken Holder, Leather
Moustache, Thug, Salamander Jim, and Moist.
‘Madroom was a regular act at the Strawberry
Hills Hotel, the Trade Union Club, the Yugal
Soccer Club, Behind Enemy Lines and other seminal 80s underground venues around Sydney. We
played with The Tactics, The Models, Box of
Fish, The Lighthouse Keepers and a lot of other
great (and crap) bands of the time.
‘Eventually we put out an album that had a paragraph-long title taken from the Klaus Oldenberg
Manifesto – I’m for an art … The engineer had a
habit of nodding off over the mixing desk and taking breaks to score [smack] and consequently it
took forever to finish and sounded like crap. The
mastering and pressing made it sound even crappier. It was rightly slagged. The follow up was a 7" of
our big live number “Acid Dog Man”.
‘Madroom went through about seven guitarists,
eventually stopped looking for one, and we
decided to all play guitar instead. Near the end
we got our own sound, a sort of drunken dada-ish
loose, lazy, less-inhibited one. Sadly, the recordings were never released, except for the ‘Banana
Box’, a 50-only cassette box, with a plastic
banana stapled to the front. I never got one. Suzie
says she hasn’t got one either, but I don’t believe
her. During all this artiness, I had discovered
early rhythm n’ blues, soul, funk, hillbilly, bent
rockabilly shit and lots of points in between. But
I’d also become more serious about playing guitar,
which was a crime in those circles. Madroom was
together for five years and five minutes after I left
the band they became Box The Jesuit.’
MELBOURNE (LATE ‘80S TO EARLY ‘90S)
‘After Madroom, I spent the next year or so playing
with an Afrofunk outfit and a hillbilly thing I called
Gasoline. They were very unsettled times, and I was
living in Sydney’s Kings Cross and then above the
Hopetoun Hotel. I knew I had to get out. Then I discovered Melbourne, which was like shining beacon of
musicality, as well as a quieter, cleaner, happier, sexier place in general, with great record shops and music
on every street corner. I sold just about everything I
owned and moved. It took a long time to find my feet
there as an outsider, but I kept at it. Eventually I
hooked up with Hamish Marr from These Cars
Collide, a band I’d been on line-ups with. Hamish
played a mean finger-picking blues-style guitar and
sang, whilst I played rhythm and lead guitar, kick
drum and hi-hats with my feet plus vocals. Together
we were called The Chicken Hawks, doing rhythm n’
blues, strychnine-laced hillbilly and rockabilly and
eventually some originals. It was like Sun blues artist
Joe Hill Louis meets Tav Falco’s Panther Burns. We
were regulars at the Espy, the Corner and several
other places. The Hawks eventually started adding
members, I got out from behind of the drums and the
originals got to be a bigger part of the set. The band
changed its name to The Ocean Stairs and basically
became Hamish’s band, in which I played guitar,
vibes, drums and did backing vocals. During all of
this I was playing with several other bands, sometimes seven nights a week, doing jazz, country, dub,
whatever was cooking. My music tastes were constantly evolving. I travelled around the world, wrote
lots of tunes, and worked in my studio on all sorts of
new ideas. I was now fusing a lot of new sounds –
hip hop and dancehall were co-existing beside funk,
rocksteady, dub, jazz and other Afro sounds. It wasn’t
much of a shift to start developing ideas that ran parallel to the evolving trip hop sound of the time. It
came together for me when I heard U.N.K.L.E.’s The
Time Has Come EP, Wagon Christ, DJ Shadow and so
on. I could hear a kindred spirit in them, people who
seemed to have a broad range of influences and were
able to combine them in an abstract fashion.
I started my career as an ‘electronica artist’ by
chopping breaks and sounds bit by bit from my beltdriven turntable onto my 4-track, later adding keyboards, vibes, spoken word, percussion, making some
weird dubby, breaky excursions. Alongside all of this
I was presenting radio on 3PBS and DJing more and
more. The Ocean Stairs fizzled out in 1994, leaving
behind a self-titled CD and a bunch of unreleased
material, but I was off and running with the new shit
that was developing in my studio. I got myself an
Ensoniq 16+ sampling keyboard and a drum machine
and began writing on that, once again overlaying on
the 4-track. This eventually led to me getting an
AtariST and Cubase setup, which was when I really
started to get the tunes that were destined for my first
releases and eventually the Kevolution album.’
THE NIGHT AIR
Left and Above:
Madroom in
their prime
Below: Chicken
Hawks poster
ABC Radio National
SUNDAY 8.30 p.m.
SATURDAY 12 midnight
NEW MUSIC, CREATIVE WORDS, RADIO MULCHING
www.abc.net.au/rn/arts/nightair
email: [email protected]
SYDNEY (THE LAST DECADE)
‘In 1996 a friend of mine played Creative Vibes’s
Peter Pasqual a demo of my stuff and he seemed to
be really keen for me to be involved with his label.
At the time it seemed a very cool idea, especially
because they were closely connected with Ninja
Tune [as the Australian distributor]. So I started getting all these ideas about going back to Sydney. In
my last months in Melbourne I finished “Dope
Thing” for Creative Vibes’ Evolutionary Vibes I compilation as well as performing at [seminal mid-90s
Melbourne ambient night] Global Warming, and my
own night at the Prince of Wales called Uppah.
‘I had been back in Sydney for just two days,
recuperating at Curl Curl beach, when I met Sir
Robbo. I had been aimlessly wandering around, trying to find a few underground happenings. Ken
Cloud at the now defunct Reachin Records told me
to check Club Kooky [the legendary, performancemeets-eclecticism weekly club night run by
Seymour Butz and Gemma, 1995-2001]. Someone
else said to check The Cricketers Arms [which hosted some of the best eclectic low key nights around
1995/6]. Next stop Good Groove records. I get into a
rave with JD, the guy behind the counter, about
records, places to go, and I mention I make music,
his ears prick up and he asks me about it. He puts
on my demo CD, and two minutes later the guy
beside me asks, “What’s this?” JD points at me. The
tune that was playing was “Sugar”, which became
my first solo record on 7" vinyl. Sir Robbo was the
guy next to me, and one of the heads behind underground zine Head Shots, which I’d been collecting
in Melbourne, and he asked if I would be interested
in an interview for the mag. The interview never
surfaced but we got to hang out a lot.
‘Robbo had recently become involved with Frigid,
which was then just starting out at Kinsela’s [see
Cyclic Defrost Issue 1]. He hooked up one of my
first gigs in Sydney there and helped out with
sounds on the decks when I played my Frigid
debut. I’ll never forget that night: a room full of
happy faces, digging the tunes. Some of those faces
became good friends, the start of a very positive
new stage. Not long after, Robbo and I started hooking up for some sessions in my recently updated
studio. Instead of the usual swag of funk breaks,
Robbo brought around psyche beat/rock, folk,
soundtracks and all sorts of unexpected stuff. It
came together beautifully. Over the years, lots of
people have said, “Hey, maybe we could lay down
some beats together”, but, apart from the fact I generally don’t have the time or mental energy, I just
can’t see it, not like I could see it with Robbo – it
was right, you just know these things.
‘We had the bed of a bunch of tunes for what was to
become the No Strings album (released in 1998) down
in no time and were soon doing gigs as The Sir
Robbo/Purdy Experience. It took about a year and a
half to finish No Strings, which back then seemed like
an eternity, but really everything was happening so
fast. For the album and live gigs we had teamed up
with Dale Harrison, who provided bass and good
company. With help from Cryogenesis and the
Fromage posse we got our crazy selection of Indian
chants, sunshine pop, cocaine disco, space boogie and
psychedelic lullabies together, with gorgeous artwork
by Fromage’s Duncan Irving. All the reviews of No
Strings were amazing, tons of kids dug it, it got lots of
radio play [especially on the community stations], but
it didn’t sell as well as would have appeared…
Probably three-quarters of the people who liked it had
burnt copies, which gave us the kudos factor, though
without the sales factor. But by the time we put out
our second album, Sirens From Here To Titan in 2001,
the general vibe was that our first album did very
well, but I was always mystified. There were so many
cool, crazy kids buzzing around at the time, with
Freaky Loops parties turning hordes of people onto
leftfield beats, so what was with the stupid low sales?’
FAIRYTALE INSURANCE (TODAY)
Kevin Purdy has spent the last two years working on
his second solo album Fairytale Insurance, a lavish,
sprawling record that is equal parts sample-based
Krautrock, and warm, enveloping psychedelic live
instrumentation. His production has become more
expansive, helped by new equipment and a shift to
ProTools. He says, ‘I want to use technology to make
things simpler. I was using the Atari ST to trigger the
Akai [sampler], now I just use ProTools. My main
focus is to compose music, everything else is just
flummery and I’ve never had any interest in being a
technological wiz, it’s not the way I’m made. I can’t
read manuals and I know next to nothing about the
most basic of technical terms and concepts, I just
want to make music. Originally it was just a cheaper
and more efficient way to multitrack, without getting
a 24-track analogue set up… I got myself heavily in
debt last September and bought a whole stack of
cool studio gear, including a full ProTools set up, a
Mackie desk and some beautiful microphones. I
wanted to get my studio to the point where I could
do the whole process up until mastering myself,
without having to pay for studio time, or having to
translate my thoughts to a mixing engineer.
‘So the journey began, not only to finish the album,
but to learn how all this new technology worked.
That’s how I spent my summer. After months of
work, technical mishaps and madness, I sussed out
what I was doing and how I wanted to do it, and
with a few weeks to spare, I finished the album. So
the flavour, the comfort and tension, the colours and
the magic of the album all came from, basically, those
three weeks. The other thing which adds richness to
the album was that I now had the ability to lay down
as many layers of live instruments as I wanted, some
tracks with four guitars, two bass tracks, three cellos
and five layers of percussion. This gave me so much
scope to interweave sonic colours. There were times
where I thought I’d never make it, editing tabla lines
for hours like a mad professor. I wanted the album to
have a wholeness to it, to take you somewhere as a
journey. The tunes were becoming more lush and
seductive, and I wasn’t about to let that stop. When I
write, I’m gauging the effect the sound has on me and
working on strengthening the aspects of sonic colour,
to heighten that effect. On this album I tried to tie the
tunes together so that they all shared a common journey. Though the journey, like the title, has a duality,
investigating lines of fantasy, dreams and childlike
wonder juxtaposed with the lightning bolts of the
bogeyman, the despair of the oppressed, the hopes of
the human spirit, in a world in which it is downtrodden. The end result is really in the eye of the beholder. Some have noted the album as dark and some as
light and bright. I think the dark aspects are more
like sitting on a cliff at night under a large full moon.
All of those things could lead some to intense discomfort, others to blissful joy, depending on whether
you go with it or not.’
Fairytale Insurance comes at a time when pop is
on an upswing, lyrics and vocals are everywhere in
the remnants of the electronic scene. Abstraction,
depth, and the ‘journey’ doesn’t seem to fit with the
MP3 and Ritalin generation who demand instant,
quick gratification. ‘It’s a crazy scene when you’re
making lengthy abstract tunes in a time where the
market wants short, catchy, genre-specific product.
They don’t want space jams, not in Australia anyhow, I’m talking the mass market here, not music
loving, open-minded folks. So we’re always essentially giving the bird with our stuff, being cheeky
schoolboys who won’t tuck our shirts in… If my
label Soft sold lots of CDs and I had my way, I’d
release tons more vinyl, gatefold 10"s with posters
and bubblegum cards. Boxed sets with comic books
and pop out 3D glasses. I think there’s still a few of
us out there. I think it’ll be alright, we’ll last the
long run because we do what we love.”
Purdy’s Fairytale Insurance is
out now on Soft Records. Copies
of the ‘Sugar’ 7" and other back
catalogue can be ordered
through Soft (softrecords.com).
To find out more on the
Melbourne and Sydney underground scenes of the ‘80s and
‘90s, see Bob Blunt’s excellent
Blunt – A Biased History Of
Australian Rock.
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Over the last few years luscious instrumental
seven piece City City City have been busily
exploring the intersections between jazz, rock,
electronica and all posts between, experimenting
with various line-ups, sounds, and techniques
until arriving at the smooth, challenging and
beguiling sounds of their debut long player
Dawn And The Blue Light District. Recorded
over a year ago, the full ensemble had only been
together for about a month before entering the
studio, with the resulting session capturing an
energetic and vital outfit full of enthusiasm and
numerous ideas. In short, it’s an album brimming with musical possibilities.
‘Everyone had their own place that they were
coming from,’ remembers guitarist and founder
Ned Collette. ’I think on the album that’s very
true. It sort of swings through a whole bunch of
genres really, which funnily enough have sort of
ironed themselves out.’
At the time, Collette reflects, the sounds on
Dawn And the Blue Light District were still very
fresh, with keyboardist Tye (the newest addition
to the band) providing a more synth/electro
sound than they had previously experimented
with. Although their sound has continued to
evolve with Tye’s recent departure and the addition of Ben Bourke, two tracks on the album,
‘Grayscale’ and ‘Year In’ are still quite represen-
tative of the outfit’s more upbeat, guitar-orientated live performances and preoccupations.
‘I always wanted it to be much heavier than it
used to be, and it is now,’ offers an enthusiastic
Collette. ‘It’s just more full on with seven people
and the sort of sounds we’re getting up there. One
thing I’ve wanted for the last couple of years is to
bring that electro vibe in but still have what I
would call a really driving rock guitar in there too.
‘As far as electronic music goes, I really like
those lo-fi elements – where a ye olde guitar is
thrown in with like crazy glitchy beats and shit
like that,’ he continues breathlessly. ‘Even dudes
like Matmos using guitars and all old instruments. I really like that sort of graininess you get
when you combine those crappy crunchy guitars
with really slick electro stuff. I think the album
represents that really well, but the set we’re playing now probably represents it even better. And
it’s just a lot more unified for me from beginning
to end. You could see a downside in that all the
songs sound similar to each other now, but I
don’t think that’s really the truth, I think they
complement each other a bit more. The whole
show and the whole vibe behind the band is a bit
more unified now.’
Initially formed to provide Collette an outlet for
some of the tunes he had been writing, City City
City has developed quite organically. It was originally more jazz orientated, featuring extended
solos and improvisation, before a bit of active listening caused Collette to re-evaluate this approach.
‘I spent a few years studying and listening to
jazz, came to the end of it and thought everyone’s
playing too long and too much. Everyone thinks
that everything they play is worth hearing and I
don’t believe it. And our band used to be different; we used to do really long versions of songs
live, sometimes they’d go for 25 minutes.
‘I think that’s where a lot of improvised music
and jazz falls down,’ he continues. ‘Unless you
are a complete aficionado, which a lot of the jazz
audience seems to be, as long as you play jazz
you can do no wrong. It really is just music for
the people playing. I remember listening to a
recording of a gig we did and not only did I find
it boring it seemed so irrelevant to the music I
was into. It was just this kind of dull noodling.
‘I think we’re all trying to hit people with this
one big sound we’re trying to create. There’s no
hierarchy of soloists, lets make the tunes as long
as they have to be to get their point across but
lets not harp on about it.’
As a result the music on Dawn And The Blue
Light District, whilst still drawing a loose influence from jazz, never feels cluttered, long or overdone. By contrast it all feels carefully constructed
and finely nuanced, a remarkable achievement
when considering the number of players involved.
To Collette however, this is not surprising.
‘Everyone’s very confident in their playing in
this band so I don’t think anyone feels that they’re
getting squashed, not getting a big enough say, or
that they’re saying too much,’ he states. ‘When the
seventh person joined, we looked around and
said, “Fuck, we’re a seven piece!” It was a bit of a
shock, but it’s never been harder with seven, it’s
actually been easier. I think it’s a band full of people that are interested in what happens when you
have the onslaught of seven people, but we’re all
also interested in what happens when not everyone plays at once. We’re trying to work more of
that into the music as we go along.
‘Everyone in the band has a very similar idea
of what the music can sound like,’ he continues.
‘Even though everyone comes from very different
backgrounds, we’re finding that a lot of us are
into the same thing right now. I feel like just a
component of some sort of music that’s happening, and I don’t really know where it came from.
I know that sounds really wanky, but I think we
all feel like we are elements of something that’s
greater than the sum of its parts.’
City City City’s Dawn And
the Blue Light District is out
now on Sensory Projects
through Inertia
11
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Melbourne-based composer Anthony Pateras is
somewhat of a puzzle in the local music scene.
He simultaneously fits everywhere and nowhere.
His tastes are broad and his talents unique. Even
in the world of electronics and improvisation, a
world he regularly inhabits, he stands alone,
creating inspired, challenging and iconoclastic
music, seemingly out of step, or perhaps a step
ahead of those who surround him. And then
there’s his painstakingly devised score-based
work. Straddling the difficult divide between
academia and live improvisation, over the last
few years Pateras has become a regular on the
live scene, responsible for some of the most aweinspiring and challenging performances around,
either in solo or ensemble pieces and utilising a
variety of instruments and sound-making techniques. Both facets of his work are unique and
diverse, often barely existing within known
realms, dragging genres and expectations kicking and screaming behind him.
‘I’m not trying to be provocative, that’s the thing,’
he offers from his home/ studio in the northern
suburbs of Melbourne. ‘What I find hard to
stomach about that ultra-minimal thing, or
experimental music in general, is that sometimes
people think they’re being extremely radical. You
don’t want to actually be able to hear that in the
music, you don’t want to listen to that and think,
“Oh, they’re trying to be extremely radical.” I
just want to listen and hear something unique.
As an exploratory musician you have to do your
research – ask yourself what can you offer within
the historical context of this stuff.
‘I think it’s important to present musical ideas
without any kind of pretension, and just say,
“This is what I’m doing, take it or leave it,”’ he
continues. ‘But at the same time, to not assume
anything about your audience… that can be
really insulting. The best thing for me about my
CD launch was that there was such a diverse
audience there – from hiphop crews and golden
oldies to kids and musicians across the board. It
wasn’t just your regular improv/new music backslapping sausage party.’
Pateras’ most recent work, Mutant Theatre, on
John Zorn’s iconic Tzadik label, is extremely radical. A veritable grab bag of Pateras’ musical
obsessions it’s an exciting work that somehow
manages to draw the listener in without appearing self-conscious or contrived. It’s a work that he
refers to as his chamber music record, though the
reality is that it’s unlike any chamber music that
you’re ever likely to hear. Unless your idea of
chamber music involves percussion sextets,
amplified quintets, numerous percussion instruments, dominos, mousetraps, prepared piano,
vocal manipulations and electronics. Though at
times quite dense, it is an absolutely astonishing
assemblage of fascinating, energetic and tightly
controlled sounds. Equally influenced by his classical background, the avant-garde, and his live
improvisation work, its mood oscillates from austere complexity to the mischievous and absurd.
‘I’m pretty interested in that juxtaposition of
comedy and violence with anything that I’m
doing, and it’s especially satisfying in the chamber music context because many people in that
field can be so narrow minded – hung up on def-
initions of music and so forth. A couple of the
performers who play my stuff are actually from
the improv community who are interested in
doing something that requires a bit more work
than just rocking up to a gig and playing with
whoever. Some of them want to do something
more structured or work harder; really rigorously
rehearse something so it can be absolutely killer
when it’s time for the performance. These people
are the ones you want to work with – they’ve got
the essential ingredients of having a completely
open musical mind, combined with discipline
and enthusiasm.”
Pateras, who is currently doing his PhD in
Composition (he’s been studying since 1997)
wrote Mutant Theatre over two years and, as a
result, it is quite varied, touching upon many of
his divergent interests, drawing upon many local
musicians to perform everything from abstract
percussion to setting off 650 dominoes and
mousetraps. Then he sent it to John Zorn.
‘I just sent Zorn a CD and hoped for the best,
and he responded quickly because I think he’s
really into composers at the moment,’ he remembers. ‘The whole idea of scoring and presenting it
to the conductor and the conductor presenting it
to the ensemble, that whole process. I think he
digs it.’ Whilst touring through Amsterdam on
the Synaesthesia tour alongside the likes of
Delire, Snawklor and Robin Fox, Pateras received
the call from Zorn, saying he wanted to release it
immediately, though unfortunately there wasn’t
enough material. When the tour ended he quickly set to work writing three new pieces specifically for the disc. One of these was “Twitch”, an
amplified quintet, which is arguably one of the
most challenging and interesting pieces of the
album. Comprising of Natasha Anderson on her
distinctive contrabass recorder, Vanessa
Tomlinson on percussion, James Wilkinson on
trombone/conch, Erkki Veltheim on viola and
regular contributor Robin Fox on laptop,
“Twitch” is a strange disjointed musical game of
tag, where each performer performs short series
of ordered sounds before the piece ultimately
culminates in Veltheim torturously smashing and
tearing apart a violin.
‘The quintet is a very acquired taste,’ laughs
Pateras. ‘The interesting thing about that piece is
that it is written not just for instruments but also for
instrumentalists. It’s written for five very specific
people with sounds they’ve spent a lot of time
working on. Erkki, Natasha, Robin, Vanessa and
James all have sounds that only they can do, so I
felt really privileged to be able to ask them to perform those sounds at certain times in the piece. The
score is almost like a comic strip – that seemed like
the only way to communicate the piece, rather than
using a traditional score-based format.’
Unlike many contemporary composers Pateras
has in recent years developed a strong interest in
working with electronics and integrating them into
his scores as an instrument equivalent to any other.
Not only is “Twitch” an example of this but, like
much of his recent work, it highlights his desire to
explore the possibilities of the electronic form.
‘What I’m interested in is using electronics in
notated composition as an instrument,’ he offers,
‘not as a separate element to the music like a drone
or something, but actually gesturally incorporating
it into the piece. And that’s what “Twitch” was
about, giving Robin an instrumental voice for his
instrument. I aim for a total integration of his
sounds combined with the idea that you can also
make acoustic instruments sound “electronic” - like
with prepared piano for example.’
Laptop musician Robin Fox has been an essential
figure in Pateras’s burgeoning interest in electronics.
Back when Fox was a drummer the two collaborated
in the trio Flubb (with Jeremy Collings on cello/electronics), constructing instruments, using junk and
combining them with toys, distorted voice, cello and
bass. Four years later, the duo produced the wonderfully chaotic and violent Coagulate (Synaesthesia),
which consisted of Pateras feeding a number of channels, consisting of vocal mics, piano frame and the
ancient AKS synth prototype to the waiting Fox, who
then electronically treated the sounds in real-time via
his laptop. Pateras would then respond to the processing, creating a sensory feedback loop of real-time composition. Whilst the album is sonically and emotionally devastating in its energy and abrasive mischievousness, their live show kicks it up a notch. Interestingly,
what looks like fly-by-the-seat-of-your-pants improvisation is in reality a lot more carefully prepared.
‘Our stuff is based on having an intensive rehearsal
period and working out different systems and
approaches to the instruments at hand,’ reveals
Pateras. ‘So we spend a lot of time just working on one
sound. When we actually perform it live it’s improvised, but there’s been a lot of research that’s gone into
the actual sounds and the different sections that we
present during a gig. In terms of actually discovering
something interesting during improv, I guess I do it the
other way round. I see improvisation as a forum to
present the ideas that I work on at home as an instrumentalist. You build your arsenal then you let it loose.
Of course you find stuff in totally free improvisation
but, at least in my experience, often it feels a lot better
to play than it actually sounds. I don’t want to be fumbling for ideas and trajectories in front of audience
unless I really know what I’m doing.’
In fact, improvisation is a concept Pateras finds
problematic, ill-defined and, despite its intentions,
often flawed or at best unhelpful in true music
development.
‘It claims to be this free art form, where you’re
granted any kind of option at any given time to
respond to any given musical gesture,’ he begins.
‘But the more I watch improv, and this is by no
means all of it, some of it is predictable in its
unpredictability. You kind of know where it’s going
to go just from the language the performers set up
from the beginning. I’m interested in structured
improvisation personally, but I’m not interested in
being able to tell where the music’s going. I think
you can juggle these two things to make something
really special – to guide your impulsiveness without being restrictive.’
‘I think improv is a forum where a lot of amazing
ideas can be executed, but because anything goes,
often the ideas aren’t presented as strongly as they
could be, or perhaps there’s a kind of underlying
excuse that you can do anything without being
accountable conceptually or even technically,’ he
continues. ‘It ruins it for everyone – it just becomes
like bad theatresports with instruments.’
‘I’m not saying this is the ultimate solution to
music’s problems – but Robin and I always have
parameters, but that’s because we’ve been playing
together for four years. For example, depending on
the patch that he is using at a certain time, there are
only certain things that I can do which will sound
decent with that patch – and they have to be performed at a certain rate to allow the processing to
kind of breathe and work. If you work with someone
long enough, that’s when the great stuff happens.
Like with Rob, I think we’ve always understood each
other musically, but just started to at the same time. ‘
Recently Pateras teamed up with local improvisers
Sean Baxter and David Brown (Bucketrider/Lazy), to
release Ataxia (Synaesthesia), which is a gentle,
though at times uncomfortable, textured bed of
improvised sound, which saw him utilising prepared piano alongside Brown’s prepared guitar and
Baxter’s percussion. ‘There are certain people you
play with where your languages sort of convalesce
into one rather conveniently,’ offers Pateras enthusiastically. ‘I don’t think improv is all completely predictable. With these guys I just sit down and play
and we rehearse maybe once a month. We don’t talk
about it.’ The result is a collection of minimal clutter, fragments of junk sounds ricocheting off each
other, and rustling, twitching, tearing textures from
an ill-defined unknown sound world.
Ataxia came about quite by chance, when Baxter
and Brown performed at the launch for Pateras’ debut
album Malfunction Studies, with Phillip Smartzis in
their minimal electronic trio Western Grey.
‘They saw me play and they wanted to do a free
jazz trio with Baxter’s fucked-up percussion and
Dave’s bass, said it’d be really freaked-out free jazz
stuff. I said that I didn’t really listen to much free jazz
stuff and didn’t have much experience with it,’
remembers Pateras. ‘I listened to classical music for
years before I listened to rock music. So I was never
one of these kids who grew up on John Coltrane and
Miles Davis. It’s something that I’ve regretted at times.
I mean, I can’t play jazz at all. I can’t read charts or
voice a chord properly. But I’m not really interested
in that because I’m not interested in harmonically
functional piano-playing. I’m interested in more physical approaches to piano, which is influenced by electronics more than anything. Treating it as a resonating
box of strings and focusing on density, intensity and
velocity – rather than treating it like a piano and worrying about harmony, melody and rhythm.’
Pateras currently has a number of other projects on
the boil. Firstly there’s a two-pianos record with The
Necks pianist Chris Abrams, where they each play
for fifty minutes in each octave, with four overlayed
takes each, which results in a chaotic piano going
crazy for fifty minutes. ‘The point of that is to add so
much piano to something that it ceases to sound like
a piano,’ explains Pateras. ‘You get this spectral wash
of energy. I’m interested in that kind of instrumental
exploration as well – adding so much that it ceases to
exist or becomes something else, in a manner of
speaking. The results freaked me out actually.’
Then there’s his hip hop record. Being the first to
admit that he knows little about hip hop, he is clearly excited about this project, playing fragments on
his computer whilst discussing its inception.
Instigated by Sydney-based turntablist Martin Ng,
they also roped in Robin Fox and Curse Ov Dialect’s
Vulk Mackadonski for extra support. The result is an
abstract, demented form of hip hop, with Pateras acting more as producer chopping up Vulk’s beatboxing
on one track whilst Fox chops up Ng’s turntables in
real-time and Ng scratches over the top. The parts I
heard were weird and strangely beautiful, a simultaneous kick in the pants and demonstration of the
possibilities of modern hiphop.
‘It’s not like it’s a pisstake,’ laughs Pateras, ‘it’s more
like taking elements of the style, processing them
beyond recognition and then using them again in the
form of the style. So we used hip hop as a starting
point, improvised with the elements of it, and then
brought it back into improv-influenced, song-based
form through post-production. Martin and I did a lot
of talking on the phone rather than heaps of rehearsal.
It’s evolved a lot over the last three months because I
was just left with all the material to put together in
post-production. It’s probably going to be a 16-track
record and there’s more accessible stuff on there as
well… which actually surprised me.’
It’s fun, he smiles. It’s nice to do something not as
serious for once. Writing scores gets a little boring,
not the results, just the actual process. It takes so
fucking long it feels like your life is slowing down,
but the results are eventually worth it.’
Pateras’ Mutant Theatre is out
now on Tzadik.
14
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Matt Roesner is Pablo Dali, a self-confessed control freak who finds musical inspiration in the
tranquillity of his natural surroundings, as well
as the sterile and harsh nature of man-made
structures.
Inspired by the indie music of his generation,
Matt began his musical career at the age of 18.
Like many electronic musicians, he has no formal music training; he taught himself to play
guitar by ear and everything else since then. His
introduction to experimental electronic music
came via the advent of Radiohead’s stunning
album OK Computer in 1997 and the evolution
of trip hoppers such as Massive Attack and
Portishead in the mid-nineties. This music
altered Matt’s perceptions and took his own
musical adventures down a winding path he has
not since returned from. Over the last three years
he has shied away from his indie roots, experimenting only with an abstract and minimal pallet of sounds that inform his current musical
project Pablo Dali.
Matt currently lives in Harvey, a little town
about an hour and a half drive south of Perth. He
works during the day as a CAD draftsman,
designing farm machinery for his family-run
business. The rest of his time is spent in the studio capturing and embodying the serenity of life
in Harvey in musical forms.
‘In Harvey music is my only outlet. There are a
lot of open spaces where I live, flat plains to the
west and large hills to the east. Harvey is so
quiet, I can sit outside and not hear a single
thing except birds or the wind. It’s the quietness
and the space which helps me create the music
that I make, I find it very reflective and meditative in a weird way.’
Pablo Dali started in late 2001 while Matt was
still involved in the post-rock electro act OK
Tokyo. OK Tokyo had built up quite a reputation
for their amazing improvised live sets and played
regularly at festivals all over the country. The
group split in late 2002 leaving Matt to pursue
his solo work. ‘I had been experimenting with
abstract and minimal sounds that didn’t fit in the
band context, and at the time it felt like OK
Tokyo was heading in a more song-based and
accessible direction that I wasn’t 100 per cent
happy with. I decided to start a solo project as
Pablo Dali, but it really wasn’t until mid 2002
that I started to take it more seriously. Some of
the early Pablo Dali music wound up in an
installation in Perth and also got a bit of interest
from overseas and I was invited to play at Sound
Summit 2002. Toward the end of 2002 OK Tokyo
was burnt out creatively, it seemed that we had
reached a point of implosion, and it was then
that I decided to make Pablo Dali my main musical focus.’
The music of Pablo Dali combines a rich sonic
palette of minimal electronic and acoustic
sounds that is both mesmerising and provocative. ‘I find that minimalism is a major inspiration. Simple ideas are the best, and you can have
a really sparse sound that still has a lot of emotional depth. Certain sounds and objects always
get my creative thoughts going. I could stare at
modern buildings, the aluminium and concrete,
and get a thousand ideas, and it’s the same with
mobile phone towers, antennae and power lines.
These man-made inspirations are played against
the natural spaces that I live in.
‘In terms of sound I might find inspiration in a
small fragment of noise found in a guitar recording or the way a sound reacts when projected into
a large space. I like working with mistakes and
trying to make something from them. OK Tokyo
tracks were always built up from improvised
jams, between the acoustic elements and electronics that we were using; we didn’t have a plan, as
long as it sounded unique. Now I am more
focused in the way I create music, I have a plan
with each track, and I use processed sounds a lot
more, like taking something that was originally an
acoustic sound source and then mutating it into
something that sounds quite digital. Making
music is a lot easier and fun for me now. In OK
Tokyo I had to write pieces that fitted within a
live band context. but I’m a control freak and I
have always been happier working by myself.’
However, Matt’s extensive touring with OK
Tokyo has given him an insight into how to present his minimal and less accessible sets as Pablo
Dali to a live audience. His shows place a large
emphasis on improvisation and real-time audio
processing.
‘I don’t feel it’s hard to create an intriguing live
set as a solo electronic artist in terms of sound.
But it is more difficult to create a visual presence. The audience don’t get much out of watching a guy press buttons and looking into the laptop, that’s why I like to use live guitar playing
and also sampling to create a stronger live feel. I
never play the same live set twice, I will use similar sounds or progressions, but they will never
be in the same sequence. Live visuals can be a
great tool too, as they give the audience a chance to
establish a visual identity to the sounds that they
are hearing. Visuals are something that I hope to use
more of in the future.
‘I perform live using a laptop, acoustic or electric
guitar and a cheap Boss sampler for really grainy lofi textures. I normally run eight outputs from my
soundcard into a mixer, so that I can manipulate
sounds through the desk as well as the laptop.
Lately I have been doing the occasional laptop-only
set where I play sounds in a more improvised and
minimal fashion.’
While we await a full-length release from Pablo
Dali, his music has not gone unnoticed, with several
compilation appearances to date. Ai Records in the
UK included one of his tracks for their last compilation release entitled Station. ‘”Contemplate” was
recorded in July last year and at the time the plan
was to include it on a demo CD for sending out to
various labels, it was not written for the AI release. I
spent most of last year working on refining my production techniques and writing new material, and
“Contemplate” was one of the first tracks that I
actually felt happy with in terms of production and
inspiration. The track was recorded on a really cold
morning, and I remember it was finished in around
three hours, it just seemed to fall into place.
‘In August last year I was reading a review of an
Ai’s Montag release and thought they might be
interested in hearing some of my music, so emailed
asking them if they were accepting demos, and they
replied saying they were looking for new tracks for
their next compilation. So I sent them some tracks,
and they asked if they could use “Contemplate” on
the Station compilation. I was surprised that they
chose that track as it was the most unique one on
that demo. I thought they would be more interesting
in the other material which was more beat-based
and glitchy.’
Matt has also collaborated with the Micro Label
12times50, also based in the UK. ‘I came across
them whilst listening to Resonance FM online. We
started talking via email and they asked me to work
on their file sharing project. Basically they had a
one-minute MP3 file that contained a heap of different sounds and noises, and the challenge was to
create a track using only the MP3 as source material. I spent a weekend working on a track that
involved a lot of processing and editing of sounds,
and I ended up with really minimal click house
track. When I sent it to them they played it on
Frequenzen, their fortnightly show.
‘I think online collaboration between artists is a
great thing, it’s something that I would like to
explore more in the future. It’s a way to learn new
techniques and also be inspired by other artists’ creativity. 12times50 are hoping to release the tracks
created by various artists who participated in the
file sharing project sometime soon.’
File sharing? Aren’t they the two words that make
any underpaid and overworked independent musician shake their head in frustration and sadness? It’s
strange to think that file sharing, in the sense of
making files openly available for audio collaboration, is a great way for musicians to broaden their
creative output. And yet file sharing, as in making
other people’s music freely available for download
despite copyright restrictions, is a great way to
ensure a lot of musicians will never be able to make
a living from their music.
‘In the future I hope to make my music available
for download but I hope to get paid some money for
it. What concerns me is when files are downloaded
and distributed without the consent of the artist.
Technology will eventually overcome this problem,
making downloading of music more secure and a
way for artists to receive income that they deserve.
‘I am a CD/vinyl man at heart, I do download
MP3s but if I really like something I will buy it.
Then you get the artwork and packaging, it’s collectable. I like what the Fällt label does, you download
the MP3 and a PDF file to print out and fold it up
into a cover. If I were going to go with digital distribution I would do something along those lines, it’s
interactive, personal and collectable. I have looked
into digital distribution, which I think is a good
thing provided the artist is paid. I see it as a good
way for a new artist to get exposed to a larger audi-
ence without the backing of a label, and MP3s are a
great promotional tool.
MP3s, digital distribution, file sharing and the
internet all play an important role for electronic
musicians located in far off locations such as
Australia. It helps them gain exposure internationally, and far off states in their own country, that otherwise would never get a chance to experience their
music. Without the internet there is still the local
scene that can thrive and nurture an upcoming artist.
‘In Perth only a handful of venues promote electronic music on a regular basis. That’s why a gig
like Aesoteric, a weekly night dedicated to new leftfield styles of electronica, dub and jazz is so important to the Perth underground scene. It provides
local artists a platform to perform their music to an
appreciative audience.RTR FM is also a strong supporter of local music.
‘There are artists in the Perth underground electronic scene that are producing music that is unique
and high quality. It’s strange because some of the
artists are more well-known overseas than over on
the east coast. My favourite local artists are Dave
Miller, Manuel Bonrod and Audio Cephlon.
‘Kieper Records, run by Audio Cephlon promotes
West Australian electronica through the release of
compilation CDs and occasional gigs. There is also a
local collective called Semikazi which involves a
large number of Perth electronic artists working in a
wide range of genres, from noise, electro, indie-tronica, hip hop and glitch. There are also a couple of VJs
involved. The aim of Semikazi is to increase exposure of electronic music outside the realm of traditional club music, and also to nurture new talents.’
Pablo Dali is currently working
on a full-length album to be
released on ::Room40:: early
next year. In the meantime,
keep an eye out for his contributions to the upcoming Kieper
Records Aether 2 compilation
and Semikazi 02 compilation.
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Four turntables and a 4-track
tape recorder is a long way
from the hi-tech world of VJing
Coldcut now inhabit. While
Jonathan More and Matt Black
have adapted to more technologically advanced means for
music and video making–or
adapted the technology to suit
their purpose–their movement
around the cultural fringe has
been decidedly backward.
They travelled from chart success with their earliest releases
and remixes, to become the
‘anonymous’ DJ Food, starting
a wholly independent record
label. Not to mention their
radio show Solid Steel which
had its first incarnation on the
then pirate ‘Kiss’.
Say Kids What Time Is It (1987)
used the laborious method of
recording samples and breaks
from records onto a 4-track,
then rewinding and recording
more samples and breaks.
Today Black and More spend a
lot of their time programming
new plug-ins for their audio
programs and creating computer programs for their live VJ
shows. Their label, Ninja Tune,
has passed its tenth year and is
almost nearing the hundred
mark in terms of releases. With
all this, they haven’t released a
record of their own in over five
years.
‘There’s no rules that you
must release an album at a given
time,’ More says. ‘We do a lot of
different things. We’ve got the
radio show, the record label;
we’ve just done a play for BBC
Radio 3. We do a lot of stuff like
that, plus we were touring the
last album. I think we came
down your neck of the woods
about five years ago. That show
has developed and we only
stopped touring it at the beginning of this year. At the moment
we’re touring a show for the
project we’re promoting at the
moment–let’s be honest–the Zen
TV DVD compilation. In the last
two weeks I’ve done Liverpool,
Manchester, London, Glasgow,
Amsterdam, Brussels, Paris,
Madrid, then Japan after that.
So, we do a lot of that. If we’re
touring Coldcut stuff we’re often
touring just a general show and
then I DJ all over the shop. I’ve
done about 20 gigs this year
already in different states and
places. We’ve also been developing the software we use and
making stuff and that takes a lot
longer than picking up a guitar
and thrashing out a tune.’
With their Jazz Brakes series
Black and More were at the
forefront of what was eventually termed ‘trip-hop’. Over the
next few years they started
building the Ninja Tune roster,
early on releasing artists such
as Steinski, London Funk
Allstars and Funki Porcini and,
more recently, artists as varied
as The Cinematic Orchestra
and Super Numeri.
In 1996 the duo had their
now legendary Journey By DJ
70 Minutes Of Madness mix
released. It also saw the return
to their use of the name
Coldcut, having absolved
themselves of a contract with
Arista records. Coldcut’s commitment to DJing, mixes and
compilations–as much as anything–has maintained their relevance, seeing them and their
label outlast a number of short-lived genres
they’ve regularly been associated with.
As much as they strive to break new ground,
they’re fondness for music as a whole, like all
good DJs and record collectors, has resulted in a
number of releases and ideas that always sound
fresh while other labels and artists have well and
truly passed their used-by date. Equally, they’ve
been confident and conscientious enough to say
no to projects that may have brought fame or
money as well as being careful not to repeat
themselves. Recently Black and More compiled
tacks for the funk/soul re-issue label Harmless. It
was a welcome relief for the pair to do something
where they weren’t responsible for the licensing.
‘We thought it would actually be a good idea if
someone else did the licensing because it’s a lot
of work. They were one of the first bunch that
came to us and haven’t asked for a mix, because
we get hundreds of people wanting us to repeat
the Journey By DJs mix and we don’t really want
to do that,’ More explains. ‘One day when things
are right we might do another album like that.
Our attitude is we do something like that on a
regular basis with Solid Steel anyway. So [the
Harmless compilation] was a really good opportunity to find some really great records that we
liked that had an influence on us. There were still
loads of records that we couldn’t get hold of, that
we really wanted to have on there so, as with all
things it depends on who you can get permission
from; there’s always a compromise. It’s not 100%
my ideal compilation because we couldn’t get all
the material we wanted but it’s still good.’
Whilst never having faced any serious legal consequences from their sample-heavy sound, releases
and artists, the issue of licensing is one More is all
too familiar with. ‘You get situations where Queen
object to you using one of their tracks which goes
[beatboxes We Will Rock You], you know? If I was
to do that on a record I’d have to put the publishing down for that. We wanted to use We Will Rock
You on the Hexstatic mix but Queen wouldn’t
allow us permission to use the actual record, so we
went ahead and just recorded it with a drummer. We
did that and they said that was allright because it was
a cover version but they still wanted 100% of the
publishing. Even when I did vocalised [We Will Rock
You] to you on the phone, it’s instantly recognisable
and they’ve stamped their identity on it. Those are
some of the difficulties you do encounter when you’re
doing these mix albums. Some people object to you
mixing their music with someone else’s music
because they don’t necessarily see that as valid
because they come from a different discipline.’
Indeed, Black and More’s talent at re-contextualise the world of popular music and culture has
long been the basis for the Coldcut aesthetic. This
has seen them move on to the visual media and
VJing which developed into their cut&paste audiovisuals–using Vjamm– which is put together in a
similar way to their earlier remixes such Erik B &
Rakim’s Paid In Full. (incidentally, Rakim has been
highly critical of the Ofra Haza sampling remix.)
At the same time, this has provided them with
the opportunity to do remix work for the very cultural products they would normally throw in to
their ironic musical critiques. Though, as More
explains, it’s not always something the pair are
comfortable doing. ‘We’ve turned down quite a lot
of stuff along those lines basically because we
haven’t got the control that we required or the
checks and balances, as they say in politics. We
turned down a remix for the Rolling Stones recently, they wouldn’t let us do our own thing [laughs].
‘They wanted us to fly to America and do it in
their studio and use some special system that means
that it can’t be duplicated. Why don’t they just put a
bloody album of Rolling Stone acapellas out, get
shitloads of amazing bootlegs, take the best, make a
compilation CD and put it out? You don’t have to
pay anyone anything then. The bootleggers can’t
turn around and say ‘hey, that’s my bootleg!’ when
you’ve officially released it. They couldn’t get that
argument. So we turned it down because they wanted too much control over it. They hade this idea of
what they wanted us to produce but it wasn’t the
idea we had. And that’s often what happens, people
get this notion in their head and say this is what we
want you to do and it doesn’t necessarily marry
with our version.’
For More and, it would seem, the whole Ninja
Tune staff and roster, as much as it’s about the
music, there’s also a strong commitment to politics,
activism and a sense of integrity. Something Coldcut
have been able to illustrate more articulately
through VJing. Through this combination of media
manipulation and tomfoolery Coldcut have met
like-minded artists such as Emergency Broadcast
Network, who pioneered cut&paste VJing. Whilst
More respects EBN’s work, he’s wary of following a
similar path saying EBN’s visual production on U2’s
Zoo TV tour somehow diluted their message and
future output.
More is just as happy providing ‘zentertainment’
as he is confronting people with uncomfortable output and live shows. ‘It’s meant to do your head in
and make people think a little,’ he says of their live
show. ‘We’re surrounded by these images all day
every day, we’re just constantly being bombarded
by, people are trying to sell you shit the whole time.
You’re always being approached from every angle
with some guy saying ‘hey I’m wonderful, buy me.
Why isn’t your life like a soap?’ Things like that.
The idea, in a way, is taking that and regurgitating it
and adding in stuff that they filter out and it can
make it quite difficult to see.’
And while many contemporaries–such as
EBN–have been prepared to take the big bucks,
More isn’t so quick to point the finger, ‘Well I don’t
knock anybody for doing it. If you can do it and
keep it going… I suppose there’s a Zen-art to selling
out successfully. Zen and the art of selling out!
People do it all around you. I won’t name names, it
would take too long!’
See www.ninjatune.com for
more info on Ninja Tune,
18
ND
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4ali PTuna Valerie Trebeljahr
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Lali Puna is one of the best-loved electronic pop groups on the
Morr Music label. Previous releases have gained them attention
from some high-profile fans such as Colin Greenwood of
Radiohead and Andy Weatherall, and their third album, Faking
the Books, will only gain them more fans. Lali Puna began as a
solo project for Valerie Trebeljahr.
‘A year before Lali Puna started I played in an all-girl group [called
LB Page],’ Valerie says. ‘It was a guitar band, quite a normal indie
rock band.’ Unfortunately getting the six girls together (including
Steffi Böhm, who went on to form Ms. John Soda) proved complicated, and they split up. ‘It was more a fun project because we were
friends. In the end everybody had different ideas on where to go to.’
‘I played classical piano as a child’, remembers Valerie, ‘but that
was the first time I made music myself, and with my own songs
and so on.’
After such indie rock beginnings, Lali Puna was markedly different. ‘The idea of Lali Puna was really to sort of make what I understood as techno, but with a pop melody. So it was really designed
as an electronic project in the beginning, it just sounded quite
trashy because I recorded everything on 4-track. Over the years and
with the other band members involvement, it developed more into
a band, and it more into a song-oriented group.’
Markus Acher (of the Notwist, Tied & Tickled Trio etc) was the
first additional member of Lali Puna. ‘Yeah, he already played on
the first 7"; it was just quite natural – he was there. I also asked
Steffi from Ms John Soda too, and she played a melody on one
track on the 7". At that time I asked people to just join in on the
recordings, and it was later that it developed into a band. Also, it
was just getting boring doing everything by myself.’
The trashy 4-track tape-recorded sound was quickly replaced by
a computer, ‘because it’s much easier and it sounds better,’ says
Valerie. These days Markus and Valerie write the songs at home.
‘We just do the very basic structures there; the chorus, the verse,
and maybe the lyrics, but all the instrumentation and arrangement
is done in the studio.’
‘There used to be a big difference between Lali Puna in the studio
and Lali Puna live. We used to re-arrange everything in quite new
ways live, because it would be too difficult – we didn’t have the
computer in use like we have it now. The difference isn’t so big any
more because we’ve included the live thought in
the recording.’
The new album Faking The Books is much
more of an indie guitar album – sounding surprisingly closer to old bandmate Steffi’s Ms. John
Soda than previous releases. And the drums,
while often programmed, are much more rocksounding too, due to the influence of playing live
with the band.
‘The thing is, when we started doing that
album we knew it was the third one, and you
had to make sort of a step. And we really wanted
to do that. For me it’s not that much indie rock –
of course that’s our background, I mean that’s the
music we heard, Sonic Youth, Pavement and Yo
La Tengo, all those bands – but we really wanted
to include the guitar and we wanted to include it
in a way that had an energy, but that was also
sort of electronic. It’s not used in a “rock” attitude, like for example Nirvana. It’s really used in
a distant and electronic way; that’s important for
us, to still have that electronic background or
influence also.’
‘It’s often programmed too. I mean the guitar
is still the best instrument to transpose that energy kind of thing, but we really wanted an electronic background on it. A really big influence
were bands like My Bloody Valentine.’
Lali Puna is just one of what seems to be a
thriving community of bands from Germany (and
elsewhere) that are working in that indie-meetselectronica area.
‘Here – just in Munich or Weilheim – all these
bands are related and have a similar background;
but if you look at other bands that are making
music in the same direction as us, there’s a sort
of community. For example, in Germany, bands
like Tarwater or To Roccoco Rot also come from
that song background, but they do music in a
much more electronic way than we do it, Also
maybe Dntel in the US; there are bands that are
coming from electronic backgrounds and moving
towards song, so it’s also happening the other
way round, and in the end you can’t make a
clear distinction any more.’
Lali Puna did a remix of Dntel on the Evan and
Chan single in 2002, and a Dntel remix is in
planning for a 12" later this year. Boom Bip has
also remixed and been remixed by Lali Puna.
‘I really like to work continuously with people –
not to have this person on one record, and that person on the next... I really like to keep personal relationships with the people I work with. It’s sort of a
friendship over music, working together on songs.’
As for their remixes of other artists, ‘It’s mostly
Markus and me when we’re doing a remix. We very
rarely do remixes, because it means taking the
sound of somebody else and making something new
out of it, so it takes us even longer to make than our
own songs. You have to deal with the idea somebody else had, and then your idea of the song.
Normally, you get the files from the person you’re
doing the remix for and you hear what they’ve
done, and then you think of doing the opposite, or
making a really big difference. Then you try to pull
everything apart, and just go from the sounds to
build up a new song from them.’
Apart from the other band members, who themselves feature in various other acts in the promiscuous Munich scene, Lali Puna has had some great
collaborators. Many listeners first became aware of
Lali Puna through the gorgeous Bomb the Bass collaboration Clearcut, which Valerie is characteristically laid-back about. ‘He just asked us. We’ve got a
distribution company in the UK called Baked
Goods. He’s friends with them and they just gave
him the record –they probably give him many
records – and he then asked us through if we wanted to do a song with him. It was quite funny
because we didn’t see each other, we just
exchanged the files through the mail, and it was
only months later – after the record came out – that
I met him in Berlin.’
It’s impossible to convey the delightful way of
speaking that Valerie has in a written article; but listen to their songs, or read the lyrics on the website,
and you get some idea of the strange evocativeness
of English lyrics written by a European. Why does
Valerie, who was born in Korea and brought up by
German parents, write in English?
‘I used to write lyrics in Portuguese too – because
I lived in Portugal for a long time and can speak
Portuguese – but it’s really a long time since I lived
there, and that’s why I concentrated on English.
Many people ask why we don’t sing in German, and
Notwist get that question too, but the thing is that
each language is very different. You have to make
totally different lyrics if you want to use the
German language. Something would sound okay if
you say it in English, and if you said the same thing
in German it would sound totally stupid – and
embarrassing maybe. The German bands I really
admire all have that sort of an ironic approach to
the lyrics, and I can’t do it in that way... I never
really tried; I always concentrated right from the
start on English.’
‘In Portugal, they just had mainly English TV,
English movies, so the English language isn’t that
far away from me. For me, it was quite normal to
use it, and I can’t really say if it comes also from the
music I hear. I don’t notice if a band sings in
French, or German or English. For example
Stereolab was a very important band for me, and
she sings a lot in French. Maybe I’m just so used to
hearing different languages that I don’t really notice
much that it’s now French – now English.’
Stereolab comes up again when I ask Valerie
about influences on her vocal style. I refer to a
famous German chanteuse, but, ‘I know that comparison to Nico and I don’t really like it at all! I
absolutely respect what Nico did on the recordings,
but I don’t see that connection. I really like vocals
that are sung in quite a normal way, not so much
big expression in it; I really like the singer of the
Pastels, and also of course Laetitia Sadier from
Stereolab, and the Cardigans’ singer Nina Persson,
and also the girl from Yo La Tengo.’
As to whether her lyrics are drawn from real life,
well naturally they are. ‘I mean it’s not one-to-one
exactly, but of course I think everybody does it in a
way that – except maybe for country singers or
something – that of course you tend to reflect what
you have experienced. And I think that is the right
way to do it. I don’t like to read, for example, a
book where somebody tells me a story that is totally
far beyond him and his personality; I want to
believe in what somebody tells me or writes in a
book so there has to be that connection.’
Lali Puna’s album is out on
Morr Music through Inertia
20
LS
L
E
H
S
R
I
E
TH
F
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T/Jeff Parkerrker
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Jeff P
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Inter v
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by Ma
Tortoise’s Jeff Parker is exhausted, having
arrived home at 4am following a four-hour drive
from a gig in Bloomington, Indiana. The gig was
with Josh Abrams’ Aesop Quartet. The quartet
consists of Parker, Abrams, former bass player
in The Roots, with Cologne-based trumpet player Axel Dorner and saxophonist Guillermo
Gregorio. He was back up at 8am to look after
his two-year-old daughter Ruby. ‘Woah...’ he
chuckles. Ruby makes sure she gets plenty of
attention throughout the interview, chiming in
with songs, shouts, and occasionally wrestling
control of the phone from her father, piping in to
ask for a turn.
Like his daughter, Parker knew what he wanted
from a very young age. Immersed in the sounds
played around his parents’ house in Hampton,
Virginia, Parker wanted to be a jazz musician.
After a year’s worth of piano lessons, he picked
up the guitar at age nine and started learning
basslines from Earth, Wind & Fire and
Funkadelic songs on the radio. His parents eagerly signed him up for guitar lessons. After time in
a handful of obscure high school bands playing
‘generally modal music, rock and jazz... like
Santana without the singing, and rock bands that
played like ZZ Top and Led Zeppelin’, he took
off for the Berklee College of Music in Boston.
After four years of study, he quit just before graduation, frustrated by the controlled learning environment and conservative approach to the music
he loved.
Of course, studying is about learning the technique and theory of the music. But Parker
thought the musicians at Berklee had a narrow
perspective. It wasn’t alive the way he’d experienced as a kid, and the musicians were more
focused on honing their technical skills. ‘I spent
a really good part of my professional adult life in
reaction to the conservative atmosphere. For
years I wouldn’t even really even identify myself
as a jazz musician. Even though it was my background and I wanted to be a jazz musician from
when I was a little kid, I mean now I’m fully
admitted. But I made a conscious effort to disassociate myself with the jazz aesthetic just
because I felt there were too many limitations
imposed on that music. People don’t buy jazz
records anymore, they don’t see the music,
because so many musicians are so self-absorbed
and the music is so intellectual on many levels.
The way that it is perceived by the public, as
well as the way the musicians look at it, it’s like
this elitist thing. I don’t think it should be like
that.’ This hierarchical approach that places jazz
above other music is reminiscent of the one that
used to put classical music above jazz.
‘I hate to put it like this. But all the categories!
Creative people are just going to reinvent the
music. That’s just what’s going to happen and
eventually it’s just going to end up being called
something else. Most people who think of jazz, or
even rock, have a certain sound they expect and
associate with it. Everyone in Tortoise, just
because of our backgrounds, excluding mine, considers Tortoise a rock band because of the way we
come up with songs. Even though we might
sound different, essentially that’s where it comes
from. Because all those guys played in punk rock
bands from when they were 16 years old. Even
though they were checking out a lot of different
stuff and had a really open conception of music,
in the social realm, that’s kind of what we identify with.’
After college Parker spent time playing improvised music with George Garzone (now an
Associate Professor at Berklee) and Antonio Hart
before moving to Chicago in 1991. ‘I didn’t move
here because of any scene. I moved here to work
and was planning on staying for a couple of
years then moving to New York.’ Despite this,
Chicago proved fertile ground for Parker. ‘I just
kinda fell in with this crew of people... Chicago
is a good place if you’re trying to find your way
because the local musicians, the local scene, is
really supportive. Between the club owners, the
audiences and the record labels here it just
seemed like a really good place to work to really
find your niche. And that’s what I was looking
for when I had just come out of college. I wasn’t
quite sure what I wanted to do, I just knew that I
wanted to do something different, and fortunately I fell in with a group of people who saw things
like I did.’
Parker’s technique has been described as playing the guitar like a saxophone. Whether it’s
straight-ahead, fuzzed-out, abstract or mysteri-
ous, he always creates a beautifully toned, textured
sound. ‘I used to listen to a lot of saxophone and I
spent a lot of time not necessarily trying to make
the guitar not sound like a guitar, but more around
the phrasing. I’ve always had a kind of linear
approach to the instrument. I was always very concerned with the sound and the fullness of the tone.
And when I was in college I liked a lot of guitar
players but I was really into saxophone players such
as Sonny Rawlins, Charlie Parker, John Coltrane and
Lee Connit. So I would just approach the instrument more like that until I came up with a way that
was comfortable and felt like it worked.’ Since leaving Berklee, Parker has continued to refine the
sound. ‘I think it is a lot clearer now than it was 15
years ago,’ he says.
Chicago is a cold working class city – the meatpacking and grain industries are big employers –
and it doesn’t jump out as a centre for wild musical
ferment. But combining the legendary sixties jazz
collective, the Association for the Advancement of
Creative Musicians (AACM), and the eighties indie
boom that led to the formation of labels such as
Touch and Go Records, it’s produced a thriving
music scene. By nurturing the free spirit of jazz, the
city now sees the thrilling results of collaborations
between avant-garde musicians, electronic producers and indie rock hacks. And outside of that there’s
so much else happening – house, hip hop, gospel,
classical, hardcore and electronic.
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‘When I first moved to town I did some gigs with
a drummer named Larry Banks, and Ernest
Dawkins, a saxophonist. We got to talking and
Banks had some of the same ideas, and I think he
liked the way that I played. He’s a little older than I
am, he had his own band that was pretty established in Chicago and he asked me to play with
him. He’s a very prominent member of the AACM
in Chicago and I got affiliated with the organisation,
met a lot of other musicians and started playing
with them and collaborating. Cats like Fred
Anderson.’
With Charlie Parker and Lester Young’s influence
on his guitar playing it must have been rewarding
getting the chance to play with Anderson, who said
he’d seen both of them play. Described by Jazz Times
magazine as ‘the foremost underground avant-garde
sax player today’, Anderson was a critical player in
the germination of the AACM back in the 60s. In the
jazzhouse interview he explains his reasons for working with (Jeff) Parker by saying, ‘he hears the music
right away. I can play with him because he has such
good ears and he picks up on it for a youngster.’
By the end of the ‘90s, Parker had established a
reputation for involvement not only in Chicago’s
rich avant-garde music scene, but also for captivating performances and recordings with a swathe of
indie rock musicians. He’s now 37 years old and has
played with several generations of jazz musicians
including Roy Hargrove, Wynton Marsalis, Joshua
Redman and Branford Marsalis, as well as Fred
Anderson, Lin Halliday and Ken Vandermark. He’s
also worked with musicians from very different
backgrounds. He began in the city playing hard bop
and free jazz with cornettist Rob Mazurek and drummer Chad Taylor as the Chicago Underground Trio
(which is sometimes extended to form the Chicago
Underground Orchestra). Mazurek and Parker also
played as the art-rock/jazz-funk outfit Isotope 217
alongside trombonist Sara P. Smith. He’s played with
bands like Ernest Dawkins’ New Horizons Ensemble,
Uptightly, Aesop Quartet and Tricolor, and released
his first solo album, Like Coping, last year on the
influential Delmark Records label.
‘They’re all just friends.’ Parker commented on
working with such a diverse range of musicians. ‘I
actually introduced Rob [Mazurek] to the more creative part, the more creative side of the Chicago
music community – I mean he was a pretty straightahead jazz trumpet player when we started hanging
out. I got him into free improvisation and eventually that led him to electronic music and such. It’s
inspiring to be in a community of musicians who
have so many great original ideas and great voices
on their individual instruments and such.’ The
extent of cross membership of bands makes the
Chicago scene seem like an incestuous musical family tree. In some ways it’s reminiscent of New York’s
underground in the ‘80s. Like the collaborative network around Branca, Laswell and Zorn, Chicago has
had an amazingly prolific output of experimental
and often brilliant records that, in reality, few people will ever hear.
It’s probably his membership of post-rock outfit
Tortoise that Parker’s best known for. He joined
Tortoise prior to the recording of their ‘98 album
TNT, replacing bass player Dave Pajo (formerly of
Slint and now Aerial M/Papa M). This cemented the
lineup with John McEntire on percussion and keyboards, John Herndon on keyboards, vibraphone,
percussion and programming, Dan Bitney on guitar,
baritone saxophone, keyboards, vibraphone, marimba, bass and percussion, Doug McCombs on guitar,
lap steel guitar and bass, with Parker on guitar,
vibraphone, electric harpsichord, synthesizer, keyboards and drums.
Skirting the boundaries of rock, jazz and electronics, Tortoise make complex and melodic music that
probably bears the closest resemblance to jazz than
any other musical genre. Despite (or perhaps
because of) his musical background, Parker categorically disagrees with Tortoise’s music being
described as jazz. ‘There’s no improvisation. I think
the biggest thing is the way that we blend the
instruments or the way that we look at the way the
individual instruments function in the ensemble. I
think that’s what makes people compare Tortoise to
jazz they’ve heard. But there’s absolutely no
improvisation in Tortoise’s music. And that’s the
number one characteristic of jazz.’
Since forming thirteen years ago the band has continually redefined their sound. They’ve just released
a fifth full-length album, It’s All Around You, while
the band’s members play and record with a bewildering array of other bands. Think the beautifully
complex sound of the Sea and Cake, Bowie-style
glam rockers Bobby Conn Band, Eleventh Dream
Day, Gastr del Sol, Come, Sonic Youth, Him, Smog,
Stereolab, Red Krayola, Tricolor and 5ive Style just
to name a few. Suffice to say, they’ve had a profound
impact on the indie rock scene.
After three years coming to grips with McEntire’s
new Soma studio, Tortoise released Standards. It
was a step back from TNT’s computer-based production, and though it was dismissed by many as little
more than a Bitches Brew outtake, it had a more
organic feel than previous albums. ‘Standards wasn’t a ‘live’ live album, but most of the performances
were live,’ comments Parker. ‘Of course, there was a
big process behind us getting to the point where we
could play the songs with everyone at the same
time.’ It’s All Around You combines the cut and
paste aesthetic of earlier albums and the organic,
musical elements of Standards to form possibly
their most developed album to date. ‘The process
for recording the new record was actually a lot closer to TNT, we went with no material and made
everything in the studio. John McEntire’s getting
these really distinctive tones [at Soma] and I think
he was just discovering how to do that when we did
Standards, it’s a lot more refined now.’
Tortoise have long flirted with electronics, though
it rarely does more than peek out from beneath the
sparkling melodies and rhythms. But software and
the technical aspect of production have been an
extremely important compositional tool for the
band. ‘I don’t know what we would do without it
[Pro Tools],’ Parker laughed. ‘Tortoise is essentially
a studio, and we’re a studio band. I mean we love to
play live, but this particular aggregate of Tortoise,
we come up with everything in the studio, that’s
how we write all the songs, everything is based
around us experimenting in that environment. So at
least for me, it’s hard to even imagine what our
band would be like without the innovation of hard
disc recording.’ This was also part of the reason for
the gap between TNT and Standards, as they spent
a lot of time in the studio getting to know the software. ‘Nobody was really using it when we did
TNT, so we went in with totally cold feet and were
learning as we went along.’
On earlier albums, Tortoise extended their electronic romance with remixes from producers like
Oval, Coldcut, Autechre, Derrick Carter, Springheel
Jack, UNKLE, Wagon Christ and Techno Animal.
These days they are less interested in that sort of
collaboration, though Parker has been listening to a
lot of hip hop. He worked with Chicago rapper
Diverse on his excellent One AM album, and they’re
currently completing a new project together. He’s
particularly excited about the current wave of producers and MCs reworking the rich vein of jazz history. ‘That Madvillain record is awesome. Oh man, I
love Scott Herren, Prefuse 73, Madlib, MF Doom,
Jaydee. It’s refreshing to hear. One of my favourite
times in music was early ‘90s hip hop – you know,
Tribe Called Quest, where they were sampling old
Blue Note records and stuff. It’s really nice to hear it
coming back, but in a completely different way.’
Like the Native Tongues, Tortoise have always
searched the past for inspiration. But the LA Weekly
summed up popular feeling in 2001, saying ‘it’s difficult to decide whether Tortoise are capable of creating their own riches or can only mine the past’.
Whether it’s Ennio Morricone’s spaghetti westerns,
Neu and Can’s machine funk, the minimalist work
of composer Steve Reich, or musicians like Lee
Scratch Perry, Herbie Hancock, Dick Hyman and
Jean Jacques Perrey, there’s no doubt Tortoise have
borrowed liberally from their heroes. Parker considers his words for a moment before saying ‘I think
whatever you’re checking out at the time inevitably
filters it’s way into whatever you’re creating. It’s just
a thing that’s true for all art and artists. I can definitely listen to our past work and hear the influences a lot more clearly than when I listen to this
new record. We’re kind of coming into our own,
really developing our own identity. That’s apart
from all of our influences, in my opinion, when I
listen to the new album.’
At this point Parker’s daughter Ruby has a
tantrum, screaming and generally needing attention.
‘I’m going to have to talk fast,’ he said ‘because my
daughter’s starting to get pissed off that I’ve been on
the phone so long.’ While juggling the phone and
Ruby he quickly gives his take on file sharing (bad
for artists/labels, especially mid-level acts like
Tortoise, but also capable of encouraging artists to
be more self-sufficient and concentrating ownership
with artists instead of labels). And then he’s gone.
Whether you call it jazz or not, Parker has created a
body of work that’s unique and new, from a diverse
range of influences and sources. His thirst to play
and create with a dazzling range of musicians from
different backgrounds marks him as an important
player in modern music. Perhaps in the future, we’ll
see his name quoted alongside some of the names
he mentioned such as Charlie Parker, Sonny
Rawlins and Fred Anderson.
Tortoise’s It’s all Around You is
out on Spunk/Inertia
3:
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You might have seen that scratchy footage of European explorers playing gramophones to Papua New
Guinean highland tribes. They are pretty amazed, not having experienced the wonders of records or imperialism before. In that moment, an entire worldview changed radically and indelibly. And that moment
still reverberates today, as some of the biggest record collectors in the modern world are the descendants of
those once undiscovered, lost tribes.
Those explorers considered themselves pretty modern. Today, we too consider ourselves rather contemporary, especially those of us with iPods, but we
should remember that modern awareness is a
process and not a position. In fact, we are living
through one of those quantum shifts in the way we
understand music right now. After a shaky start, the
MP3 is becoming accepted by the music industry as
a legitimate music format and delivery medium,
and this will prove to be the largest shift in our
understanding of music since Edison rapped ‘Mary
had a little lamb’ onto wax.
The radical evolution of the MP3 from outlaw to
saviour is neatly summed up with the recent
relaunch of Napster as an online music store. Its
original incarnation in 1999 as the infamous peerto-peer software allowed music lovers to freely
swap music. Despite being bankrupted by litigation
and shutdown in 2002, peer-to-peer sharing and the
MP3 was established as a force for the music industry to grapple with. Jump forward to 2004, and the
cultural cache of the Napster brand has been refor-
matted into a legal web-service selling music to the
English and American market.
Napster is staking out territory in an already
crowded arena dominated by the Apple iTunes
service. When iTunes was launched in March
2003, downloading was largely unexplored as a
form of legitimate distribution, as music publishers
were reluctant to allow their music to be available
on the internet. But Apple’s achievement went
beyond persuading the music industry to open
their vaults; they also provided the public with
remarkably fashionable little white devices to play
their legally downloaded tracks on. The iTunes
service and iPod player go hand in hand and have
been a massive success: over 70 million MP3s
were downloaded in iTunes first year, and iPods
now outsell their computers.
The Apple business model relies on selling both
the hardware and the music, but legitimate music
downloading also offers new and novel commercial
possibilities. A recent Pepsi campaign featured
Beyoncé and Britney in an epic Gladiator-style tele-
vision commercial tied in with free music downloads from the iTunes service. Coke replied by stepping into the ring with mycokemusic.com. Dentists
worldwide couldn’t believe their luck.
These exercises in calorific cross-promotion and
soft drink propaganda conceal the biggest winners
in this early scramble for high visibility MP3 associations. Peter Gabriel’s Real World label pushed
world music into the western consciousness
through the 1980s and 1990s, but his recent project
is proving to be much more significant. His OD2
venture provides the structure and distribution
framework for a number of European music services, including Microsoft’s Music Club, HMV and
Virgin in England, the French music chain FNAC,
as well as MTV in Italy, Germany, Spain and
Holland. OD2 looks after the publishing rights and
downloads while the peripheral brands concentrate
on identity and marketing.
Telecommunications companies are also taking
note of what is happening in the music arena.
Despite its small broadband market and poor infrastructure, Telstra is looking to legitimate MP3 e-tailing as a way of providing substance for its contentstarved internet service provider Bigpond. If unreliable broadband or defective email access isn’t
enough of an incentive to sign up, the new bigpondmusic.com site offers music downloads at a subsidised price for its customers, as well as the helpful reminder that ‘not paying for music downloads
and file-sharing is like stealing. And stealing is still
ILLEGAL.’ Got that kids?
The telecommunications interest is understandable. The public response to MP3s, the take-up of
fast domestic internet services and the subsequent
investment in bandwidth infrastructure are the litmus test for a delivery network that could conceivably provide other forms of media, for instance television or cinema. Software like Bittorrent already
24
IPOD KRUMPING
BY VAUGHAN HEALEY
There is a whole industry of after-market accessories for Apple’s iPod. You can
splash out on a remote control unit, memory-card readers, digital cameras and
of course, upgrade to special earphones. All in white, naturally. Of the more
interesting paraphernalia is the iTrip – a tiny radio transmitter that is supposed to allow the listener to tune an FM radio into their iPod. Armed with
what is effectively a pirate radio transmitter, fashionable iPod enthusiasts
have devised a new variation on the classic pirate radio hijack: Pod-krumping,
or Pod-jacking.
The scenario is straightforward: the iPod-armed vigilante enters a space broadcasting bad radio with nothing more than an expensive piece of designer fetish
and spirit of mischief. Places like cafes, taxis or long-haul buses are perfect with
their terrible MOR/FM-rock radio and captive audience. They find a position near
the antenna and turn on, tune in and press play: the local supermarket is rocking
to your very own playlist. Getting down with your personal Top 25. Who needs
conspicuous white headphones when the background ambiance is your own
MP3s? Pod-jacking/krumping is proving to be so popular that a suspicious black
market exists beside the iPod industry. A bit of hunting can unearth iTrip boosters, Bluetooth transponders, cigarette-packet-sized microwave links and miniature
amplifiers – available pre-assembled or in kit form. Krumpers are jacking into
datastreams all over the place and grooving everyone out with their selections.
I was lucky enough to be lent an iPod from the kind people at Apple for a couple of weeks and decided to try my hand at pod-krumping. Famously, Apple
design their products for ease of use and luckily for us krumping is no exception. Since it’s launch in 1999, the iPod has been a miracle of product placement
and slick design. Other manufacturers of MP3 players can only drool at the iPod
sales figures and cultural cache. There are swags of MP3 players out there, built
into watches and phones or rolled into PDAs. Many, such as the iRiver HP-120,
are technically better, with in-built recording features, sturdier design, and
longer battery life. The iPod itself will soon become an anachronism: not only
with competition from Apple’s very own Mini-iPod, but through the necessary
turnover of volatile technology – 40GB in a device the size of a deck of cards
might sound impressive now, but machines of the future will eat 40GB for breakfast. Even the first generation of iPods looks old fashioned with its antiquated
push buttons. However, for the wealthy and fashion conscious saboteur in 2004,
a pristine iPod is the only way to go.
After a couple of alse starts, my first success was a greasy spoon cafe in
Sydney’s inner west. I took a position near the laminex counter and spied the
coat-hanger doubling as an antenna for the radio blasting the hits of the 70s, 80s
and 90s. The soundtrack was krumped in no time, moving from bland radio to a
selection of 20th century serialism before you could say “atonal mayhem”. A few
eyebrows were raised, but unfortunately the staff were quick to change the radio
and put a CD on instead. Deflated with the end of my short-lived radio prank, I
sat back with a Turkish pide and played solitaire on my $800 toy.
allows easier downloading for the huge files required for television
shows. By employing a variation of typical peer-to-peer sharing,
Bittorrent is a perfect way to download all those movies and television shows yet to be broadcast through traditional methods. As
bandwidth improves, this will force a major rethink of television
scheduling. Stations will no longer hold the keys to programming
and the ad break that interrupts viewing every few minutes will be
a thing of the past, as commercial material is further integrated
into storylines and plots.
But while established media giants have the publishing rights to
support the insatiable demand for content, cyberspace offers a level
playing field where smaller websites can offer niche services.
Although independent artist and label sites might not have the sugary endorsements of pop divas or funky white and chrome digital
toys, inventive music makers are still able to exploit the enormous
possibilities of file sharing. Backpack hip hop doyen DJ
Dangermouse has guaranteed his place in pop music history with
his now infamous Grey Album: bootlegged Jay Z’s Black Album a
capellas over beats jacked from the Beatles White Album. Ironically
the Grey Album would have faded into obscurity if not for
Dangermouse being served with a cease and desist order from EMI,
who own the Beatles recordings. The interest of the press was
piqued by the David and Goliath tussle, and the public was able to
make their own mind up; the Grey Album was readily available as a
download. From LA to Liverpool, listeners who had never given
abstract hip hop a second thought were rocking to Dangermouse
and his high-concept prank.
The paradigm shift in consumption and listening stretches to the
very core of the music industry itself. Pressure is mounting for
changes to be made to the composition of music charts. In 1999, the
celebrated boss of Factory Records, Anthony Wilson, declared that
‘in five years time we’ll still be buying CDs but the UK singles chart
will be 80 per cent composed of download statistics’. As yet, the
UK pop charts don’t reflect download statistics. However, the
Official UK Charts Company is currently assessing ‘the best time to
include downloads into the main chart’. That time may be soon.
While the public has long been sceptical of the mysterious music
industry alchemy used to compile pop charts (a suspicion that was
cynically exploited by reality-TV hit Popstars), download charts
promise a less affected method of tracking what’s hot and what’s
not. Indeed no established download service would be complete
without its own top ten. Chart reform could even go further than
tracking sales, with the popular internet service gracenote.com providing a chart of database hits that track individual songs being
played in computer CD trays. Perhaps this could provide the next
geek challenge: a total and complete pop music chart able to trace
MP3 downloads, international file swaps, CD database hits, radio
and television playlists, and so on. For an entrepreneurial computer
nerd, these lines of code could be the path from the garage to the
mansion. Just remember where you got the idea…
There is considerable inertia and pressure to maintain the status
quo as entertainment industry giants struggle to keep up with new
technology, but consumer demands are proving to be both voracious and infinitely creative. Just as business models have been
adapted to accommodate MP3s as a legitimate format, a surprising
new sector of the pop music economy has developed. Similar to
the syncretism Apple used to establish its iPod and iTunes, mobile
phones have created a huge demand for ringtones as pop music. As
monophonic melodies evolved into polyphonic rings, the new gen-
Tortoise’s It’s all Around You is
out on Spunk/Inertia
Information for Members and their Guests
eration of mobiles can play sophisticated realtones. Realtones, or mastertones or
truetones depending on whom you ask, are sections of pop songs rendered
down to catchy hooks and are the coolest ring in the playground. Amazingly,
some estimates suggest that mobile phone ringtones now account for 10 per
cent of the global music market, earning a whopping US$3 billion.
The realtone phenomenon illuminates some of the deeper movements behind
changes in music awareness. Music composers are engaged in a complicated
feedback loop with culture, technology and the listening public. Advances in
technology precede evolutions in uses and understandings of music itself, for
both consumers and performers of music. In the same way, the shellac disc
allowed accurate recordings of intricate performances in New Orleans to be
played back to amazed jazz fans in Paris as well as amazed mountain clans in
Papua New Guinea. The 45 single afforded teenagers with a medium to covet
and exchange and rock n’ roll was born. MP3s and the changes produced
through digital distribution offer artists an entirely new relationship with the
public and palette to create their art.
One of the most immediate changes for the MP3-ready music listener is the
offer of an unprecedented choice of music. People have (almost) all music
instantly available all the time. This allows listeners to be radically causal in
their listening as tracks can be downloaded on a whim. Searches are ad hoc and
haphazard, randomness and surprise is created with misspellings, typos and
incorrectly labelled files. Listening becomes grazing, with the audiences’ microscopic attention spans searching for musical hooks and repeated licks to maintain interest. Significantly, the unit of exchange is the song as opposed to the
album, reducing the importance of the album as a staple of artistic intent. It
could be argued that the current popularity of hook-based, song-based music
such as r’n’b and hip hop is partly because of its ability to translate into catchy
ringtones and for a downloaded song to be a complete unit in itself.
As a balance to this blithe and chaotic grazing, listeners are also allowed a
deeper engagement with artists and ideas. Enthusiasts worldwide can tune into
a movement that would otherwise be confined to a city, or perhaps collect and
archive the complete works of their superstar of choice: from all the legal
recordings to all the bootlegged concerts and everything in between.
These two contradictory tendencies generate conditions that demand music
to be arbitered. As music is abstracted from context and removed from traditional modes of distribution, new forms will develop that direct taste and provide meaning. This is role conventionally filled by media like radio, television
and magazines, but this economy of cool will necessarily develop in additional
ways. One optimistic scenario is a record store renaissance where canny retailers will be able to trade on the kudos of recorded music and associated paraphernalia as a fetish item.
Perhaps most significantly, the move from atoms to bits places a renewed
emphasis on live performance. A sympathetic legislative framework combined
with supportive infrastructure would nurture new modes of performance and
celebration, and the benefits of progressive thinking are obvious. Shows would
be a corporeal experience, ideally with the economics of performance geared in
favour of supporting artists of all scales, from megastars to the undiscovered
bedroom producer.
Regardless of our political, economic and cultural climate, history dictates
that the kids want to party. The new consciousnesses and aesthetic possibilities
afforded by MP3s are only the latest manifestation of the most important function of music: that of social ritual. After all, we can’t all be sitting behind computers downloading all day long.
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swell
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rn
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ent blo
record
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ortage
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in
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ears
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li
Andre
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brid
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where
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s
ase ov
utes
ps
ge, th
ounds
drama
e
er
are
ti-
REVI
EWS
LOCA
RELE L
ASES
28
Kooli
sm
Good
Budd
Part 3
ha
: Ran
Futurh
dom T
istrix
(Invad
hough
(Indep
a/Inert
ts
enden
ia)
When
t/
M
Journ
Canbe
GM)
eyme
rr
a’s Ko
in the
n
o
f the s
olism
Good
early
ight D
Projec
till blo
90s, A
first h
Budd
istrict
Melbo
about
ts)
ha ha
ooked
ussie
ssomin
urne’s
decad
Ameri
ve ex
hip h
up
g Aus
e. Lik
Steve
can a
editor
isted
C
op wa
o
tr
u
e
c
P
a
n
cents
in vari
the sc
lian h
hillip
tless s
of the
raw b
s all
a
s
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ip
nd do
hows
ous fo
eginn
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Sadne
has m
hop s
publi
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lb
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rm
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em, th
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Part 3
freuniqu
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sk of
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long
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es the
teresti
piece
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Record
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slines
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overs
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m, th
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, favo
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sweet
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across
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ms m
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b
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rit sou
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finish
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borne
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tional
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rsion
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wards
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ealey
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LOCA
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borati
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ott wit
ss
ti
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23
iv
a
R
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s
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m
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L
1
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x
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ds into f endless s
turing
as to
nge m
the ru
ful
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rray o
ctronic
ck in
music
pace,
a peri
do wit
echoe
an im
echan
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r artis
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s and
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lous p
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s
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ic
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disc b
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ursuit
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e
oasts
tered
totally
prov
howe
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rt and
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The
some
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ver V
c inco
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Willia
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s
t
b
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tr
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ed so
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mana
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ever s
V
forms
u
a
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t
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rious
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bstrac
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and fo
llectin
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Brand
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k
A
t
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rgive
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g toge
er Fis
rtists
sonic
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to con
prov
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ther th
make
clips
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from
again
e loop
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tegrate
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s
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r app
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osing
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usical
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clude
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rs
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e) aro
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ery pla cessof exp
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ay
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music
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Kettel
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With
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s
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o
Ja
ing off
menta
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re – O
d frac
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n that’
consid
panes
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l appro
tured
ctopu
the co
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ll of th
e
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eratio
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ring ro
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ght
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at dif
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soon.
t time
flecks
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a
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atic-s
awren
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k by T
from
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Japan
get th
us Ar
tyle s
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ako’s
ce En
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e
& Urk
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Statio
plinte
glish
pure
On Pa
Taisu
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n
rs and
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ke
per
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s
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y
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e
n
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li
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c
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rumb
Record
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gloom
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ica)
elodic
s)
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Build
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On Pa
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fr
a
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S
p
m un
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us Ar
unfath
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s
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n Cha
own p
sts
the m
omab
Beanb
tion to
el una
n
ost str
roduc
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ag Ae
that w
fraid
date a
ers, th
ange,
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stheti
ith a s
to rele
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n
u
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u
in
n
rs
c
lt rele
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s
k Mu
comm
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trange
ase m
ase is
ing an
a
n
s
ses aro
ercial,
ic)
ts 16
music
usic
sense
Ai’s th
d rem
T
h
tr
q
u
travers
e idea
acks fr
uirky
of aw
nd. Y
ixing
ird co
those
d
e
o
e
e
o
t I say
ancefl
. The
f the b
s a ra
m 13
the so
mpila
th
great
n
c
in
o
d
in
eanba
ge of
oncep
unds
or of
ifferen
g melo
g else
b
ig
g
s
2
o
t
tyles
you s
thick,
14's ‘F
f pape
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t prod
entire
of mix
dies o
which
from
ee aro
almos
ealing
r bein
ucly. Wh
rom th
Sinne
f Sofa
the m
und to
move
t card
, but th
g ripp
r DC's
lofa –
ile the
e Outs
Berlin
e
ta
s
w
b
e
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ll
o
o
tr
d
e
fa
n
id
c
n
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ic
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ack ‘A
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reality
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ce to
Artific
rd gig
the w
e of th
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be a g
t of a
hims
lice’ ta
u wou
mista
poste
ial In
e stan
is som
e bew
this is
ood id
of you
piece
kably
tellige
rs
ld if y
kes m
d out
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eam su
a dou
of furn
ea, ex
r body
weird
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e back
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ble dis
te
o
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it
who h
e
m
a
S
n
u
d
to
utors.
p
tr
s
d
p
re
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thing.
in
ed be
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anger
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c set fi
the da
ears o
e Icela
c
a
ave li
te
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ly
W
s
n
n
menti
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lled w
till is
(a stra
nd's T
bag u
progra
hich le
ned u
the su
even
Warp
on jus
se usu
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raject
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nge c
p for
reacti
mmed
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h
some
a
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lf
t
o
a
p
m
th
o
g
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s
ll
o
resen
n to lo
etting
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piece
erous
e cha
f the C
y lead
to the
know
ts a d
Meiss
llenge
nce I
comfo
unge
which
souls
s to
Gold
D–m
n nam
afford
Other
ark an
ner (R
music
. And
rtable
Coast
sets th
elanc
es suc
loung
h
d
ig
a
th
a
in
h
in
b
n
h
n
e
e
h
e
o
d
e
li
d aim
tris – Be
Slavin
anbag
the
lic, m
re’s
om In
mood
ghts in
as Seb
insigh
Tall T
ed at
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oody
c/Auto
sound
for th
who te
t into
astian
clude
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people
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e latte
Aesth
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the sa
posie
the be
am up
y Into
for a c
are bu
ontem
Mike
etics g
who c
r
s) and
mple
autifu
namo
under
ouple
tchere
O
p
a
iv
h
la
ld
R
n
l
e
ri
e
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a
in
s
the na
of inc
n
d, hac
ve.
vy gen
– a tra
eld's T
the lis
strum
pace –
electr
diately
redibly
me b.Z
ked a
ck mil
re. Ov
ubula
ental
tener
onic p
s
o
n
m
g
d
r
ra
_
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e
a
d
e
m
ToneR
r two
n
Bells.
ieces
ly rem
times
melde
b me,
airly
inima
sense
tle wa
hidde
discs
flirtin
Thou
in rhy
d toge
it rew
inisce
l and
of rhy
y with
n deta
samp
gh Sta
g in th
thmic
ards fu
ther a
nt of
tense
thm is
ils rev
les
dange
Bliss
tion d
at quie
t a lig
wrong
fashio
assort
rther
aband
B
rous fr
e
a
id
h
o
n
m
le
t
a
n
te
hands
n
tt
a
g
d
e
a
n
’t
nd ge
oned.
ention
s and
nt of
nd at
ing
upon
imme
equen
take in
could
nmusic
quality
other
slako
Artists
ting, y
, with
each
cies th
be po
raw n
times
& Bus
on off
listen
et in th
such
that c
at in th
tentia
oise, p
hsmo
all
. There yet more
er and
errati
as Go
an on
eirs a
in a fo
Germ
e
lly he
k
u
c
ld
e
ly
's
n
it
re alm
r!
s
k
a
C
an art
c
a
h
b
c
mples
ussed
ad sp
rock ra
oaster,
reate
as a c
e app
good
o
is
s
n
li
,
t
s
e
re
t
m
o
tworld
ounds
ckets,
pop. T
rtain
t easy
Steph
ciated
anner.
dragg
uniqu
capes
hip h
music
an Ma
here’s
listen
ing ou
when
Melin
e
op, biz
that
ing, b
Much
thieu,
snipp
also
t the u
da Ta
engag
cies tr
ut mo
arre e
ets an
like a
a mas
ylor
ing w
nseen
apped
s
x
d
t
te
b
o
ith it
/u
p
e
ti
ti
r
a
a
ro
ca,
nny e
nheard
at
chiev
nbag
bably
benea
Mathie
le
e
re
ctro. It
any c
th the
wasn’t
freque
quires
u’s co
omfort
’s
deal o
nrecord
a grea
design
ntribu
spook
, Bean
f patie
t deal
ings.
ed to
tion s
y dro
bag A
nce…
of ma
be.
divan
urpris
ne, ha
e
n
P
s
th
o
e
dream
sound
ingly
euvrin
rhaps
ethics
lf feed
is
y narc
?
th
g
requir
(see a
a
back,
to
ey sho
otic th
lso sle
es a g
half o
uld h
to do
at see
reat
eve re
rgan,
ave tr
with
ms to
view
a
ied fo
the pa
have
in
r
per p
th
is
e
sue 7)
little
reamb
Tim C
le, wh
olman
ich
INTE
RNAT
IONA
Trapis
L REL
t
Ballro
EASE
om
S con
(Thrill
Jocke
t
y
/In
It
on
Jnr
e
inted
him).
&
n take
ith th
ckson
fact h
ire
a calls
its ow
sound
rage
mix w
Otis Ja
lf – a
ands
itself,
Vast A
years
ith ga
momm
Drum
ndle;
ushed
himse
off his
ic
w
y
a
No H
’s
p
w
s
b
b
h
b
s
d
s
fe
u
…
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k
li
li
s
y
n
y
a
d
m
d
m
r’
a
ic
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e
a
a
e
e
k
e
m
ro
ss
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)
lw
d
M
M
m
Mu
a
u
s
th
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e
m
d
k
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ie
lb
it
d
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e
o
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m
e
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tr
ru
‘O
s
o
a
h
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L
n
e
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ed
Ox
lum
uch
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te Ind
hazard
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massiv
s
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t by th
p
e
s
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h
la
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C
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m
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ntl
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ne
stan
go S
oug
dece
sed w
h dark
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ots, co
plosiv
brillia
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onder
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d wit
and th
. Bles
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est sp
the ex
adlib’s
vie W
overe
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t Aire
the pa
ssic ju
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icate w
ken
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ted gu
After
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te
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fr
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lu
o
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ty
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th
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s
s
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a
w
lu
m
a
s
ro
e
u
All
of b
on
, th
s an
reaks
ytale
back,
ntrols
antly
rves to
olo alb
affair.
sed, s
l stuff
iscent
sform
and b
al fair
ast co
n eleg
but se
ated s
&
nglist
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remin
soulfu
h tran
rallel
music
m… is
all), V
ady’ a
anticip
usly u
r a pa
, Sonic
tured
p and
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g flow
e whic
ok Mu
ord at
lden L
c
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o
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in
v
w
s
o
b
L
k
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li
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In
y
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p
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ll
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s
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so
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s
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b
s
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s
m
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ra
n
ie
o
s
g
F
ac
ca
ns
Th
ree
rts
nasty
gh n
into a
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imon,
a lopin
lume.
nic
piring
f the tr
d by g
et hea
r
h
s
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o
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e
g
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v
n
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Siz
re re
jazz
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ast’s
up. 8
t raisin
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bound
rebirth
Roni
ies
rcoal
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acks a
e of V
ithou
rhym
y are
time
from
d cha
the titt
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solid
beat d
mic w
tized
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m som
tracks
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re fro
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a
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lory
Silver,
ks here e, world p
unive
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ts. DH
courte
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mll trac
son
f the tw trumentalis
ction
half-a
peac
ast co
with a
Levin
s
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produ
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ing
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er Sal
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ng w
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t’s re
en alo
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, Liqu
on so
fests
often
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iquid
supre
place
p
th
e
m, tha
m
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z
a
l
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h
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ssle
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ssio
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pound
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g and
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eeform
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den
an. A
this la
ple ba
hell, a
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ritone
gly fr
funky
ly tak
m rid
the m
l track
unk
ed, on
er sim
ai’s ba
a doo
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rse, p
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ay ov
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to
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n
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fr
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suin
and
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c’s
ue – th
nkade
groov
r
of both
ax reis
‘Cave
Latin
of Fu
ubkadeli
in vog
ares
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mous
sextet
tions
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. Fun
back
an Sn
the fa
t with
on, a
ention
tunes
amazrpreta
nk is
Lines
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g
rs
m
e
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te
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e
fi
t
g
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t
Veneti
it
ri
in
a
a
o
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rs
h
g
o
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rW
featu
ill.
lly q
-arm
ust fi
usic.
ears a
and G
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ble of
lip)
strong
um m
album
pled fo
Sugarh
g funk
the m
few y
part
Horse
icular
mini
ouchb
Ensem
ini-alb
netian
rattlin
as sam 9 label and
most
spired
ght/C
d Art
in part the bowel
-titled
on Ve
this m
r the
n
9
line w
’
tly in
lf
f
a
s
o
n
e
penrk
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e
e
s
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s
o
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o
c
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re
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d
th
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o
n
a
b
a
w
e
io
pp
art
ost
oth
ilst
and
utfit
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ed an
whos
iscuss
rbing
hich a
ind C
this o
d. Wh
ugh m
ly
pted b
ll tim
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track
Any d
and F
ork, w
tructe
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is we
e distu
solute
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ll
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la
s
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ng pre
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ks in
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ic
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o
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o
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lf
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k
s
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d
re
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y
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U
a
u
e
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s
b
e
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h
ss
g
alb
n is
bas
ga
ithes
n alb
e #4).
is pro
laced
Youn
nky a
Brow
e the
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e
with
volvin
Hyme
re pos
e, rep
st issu
ith a fu by the tim
pace
only b
and a
Liquid
ene in
Defro
s’ two
is gon
ing w
keeps
uite
at can
yclic
ink sc
Snare
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nd
the air
a new
q
h
C
a
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rg
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h
w
y
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u
g
in
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re
g
tl
s
k
s
e
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n
on
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ted w
hand
gling
a mo
tly th
inspir
the pu
up am
(revie
your
han
ontras
where
n fled
paren
sert is
l tied
e got
tian C
is is c
ance,
oat, o
e. Ap
most
ops in
nt gir
you’v
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groov
iscord
and G
ng. Th
.
at his
e
for-sh
d
ri
e
ll
in
besce
h
k
e
e
e
u
rs
T
s
e
n
tl
o
w
e
h
u
-p
c
as
sub
ky’.
mil
’. H
nF
pre
tively
from
wings
nts of
x toys
st ‘fun
ts Aaro
naked
as ‘se
and
repea
mome
oming
nd lea
t, find
t
c
d
a
e
n
h
e
)
e
o
in
g
tl
b
l’
b
a
n
li
e
ri
e
tr
ta
b
c
g
s to
res
desc
‘men
ats
tion
a’ (a
e
coales
bel Su
lay of
eI
x seem
go Be
set th
sis on
& Fric
ertoeb
ian la
rps do
a disp
the sa
Volum
e Bin
to off
Zinc
mpha
Mann
Canad
d blu
nce –
– old
r Fish
skills
ssions
ted
s for th
ta
e
ntal (e
erpeg
e
ps an
e
n
e
e
Js
k
is
S
e
e
v
ri
in
a
d
D
m
e
e
le
o
ti
m
B
t
s
e
g
b
ri
‘W
th
a de
Bin
mix
expe
rpreta
. Bob
bigges
ndom
lly on
tracks
ich is
itous
e inte
listen
a new
ene’s
gly-ra
o)
cessfu
up 47
n), wh
erful
uniqu
e gratu
s like
ass sc
(Bing
seemin , most suc
ixing
m lik
e pow
t look
metow
m’n’b
aving
MC
e
m
a
is
o
,
e
le
ru
h
–
s
s
h
C
d
n
rw
w
s
s
n
re
e
M
e
k
te
o
ght’
ite
oth
natu
With
rer trac
Fricti
ed lis
o of th
Subli
Dynam iently to c
me sig
an
cruit
. Othe
are tw
nce to
from
eird ti
ic
ew re
aking
lassic
label,
refere
ivotal
ce eff
vocals
and n
and w
out m
ares c
a
p
h
a
n
c
p
y
e
,
s
it
S
tr
d
y
in
x
s
th
w
n
u
Z
lo
e
a
se
f me
the g
ck to
a
ps by
hand
ere
, with
Veneti
mix u
lack o
rks ba
fan of
all sli
gle w
tle for
o CDs
Zinc’s
with
great
. It ha
, so it
d jun
ide ti
over tw nd MC SP.
filler,
m no
ll
t funk
ve an
f a sn
iction
a
s
I’
o
ra
fr
,
li
h
a
it
g
ir
d
g
ic
a
b
n
n
u
n
a
a
son
y aff
ic ju
ltho
ed a
Hollo
Eksm
eems
little
chees
xplod
And a
metall
selecPeter
ent’ s
cold,
pretty
core e
ssion.
inc’s
ness.
+ stud
ate a
e is a
but Z
n hard
impre
v
ndom
,
e
e
ra
h
ra
vine A
s
,
e
t
w
u
e
n
D
h
o
nt
rd
wit
rd h
cours
ambie
mome
‘Richa
eriod,
tor ha
ly,
ow of
bit of
that p
unate
omina
ers. N
away
sh of
n den
broth
Unfort
ea
ru
o
throw
.
y
m
ls
rg
il
m
t
sk
co
are lik
ne
te
e
l
t
C
a
s
in
e
e
u
ic
M
th
w
n
g
lo
ite
ch
ck
wQ
ynam
diggin
ng ba
and te
ion of
y’s Ne
D
ri
p
s
a
n
b
o
n
d
m
o
s
r
lo
o
te
ti
n
tio
mix
ns fr
Yeste
ss)
r and
g the
roduc
entire
rjectio
the co
auteu
e Vibe
ved p
eflatin
gates
g inte
te the
reativ
sonic
gs.
ally d
impro
Stevie
failin
omina
ndizin
tet rele
rolific
uction
gradu
d
hrow/C
’s
p
d
,
ra
in
e
T
g
n
’t
u
e
ro
u
g
o
s
n
Q
p
g
th
s
e
o
-a
all
ew
e
llea
doe
ical
t of
self
(Ston
in a b
ith th
ay’s N
st he
is typ
his co
projec
k
a
w
h
r
’
rd
a
f
le
z
it
fo
te
le
o
z
t
e
rd
s
a
s
Ye
– alb
slow
ed
orwa
es up
,
ons. A
The ‘j
t lyric
adlib,
aightf
t mak
laying
h this
cogniz
d kno
selecti
sive M
almos
l
live p
ore str
ely re
ne wit
d hea
Zinc’s
obses
sam
andfu
. Wid
sman
. In li
our of
se,
p
k
h
D
ops an
v
rk
n
E
C
a
e
ro
o
lo
fa
s
d
C
d
n
w
p
a
lo
wo
in
con
his
le in
tion
and M
mic s
, he’s
playthe se
J Fric
ge
elves,
efines
inor ro
s
Js
z
d
D
d
n
z
D
m
m
o
t
le
y
ja
e
s
a
a
o
w
n
l
s
b
to
rea
ctio
Kno
are th
ess th
’n’ba
New
ve
work
s sele
D for
t in-n
d from
drum
Jamal
s who
d ‘Dri
’n’bas
ely ou
over C
t new
uncate
sician
hmad
name
drum
e
uniqu
ed a c
verst bes
of mu
nist A
ow re
s are tr
o
th
ix
e
ia
w
ts
r
(n
m
e
p
m
m
is
’
f
fo
n
s
a
o
y
o
to
t
e
oc
con
tha
reat
eir n
centl
nod
as on
YNQ
own ‘C There’s a g
being
tion
nd re
s is a
that th
y
irony
Zinc’s
d Fric
s - in
ards a
n vibe
s’.
yed b
of aw
r. The
ts are
pe’ an
iller o
Stone
re pla
sample
y
h
le
a
M
g
g
il
-T
s
li
d
in
M
rt
h
‘R
a
p
a
s
p
p
Hig
Ahm
classic
Marcu
d ‘Ste
ll the
mag.
ers –
f Jo’s
r’) an
assist
part a
most
and b
sion o
By Ca
SLEE
VE R
Sleev
e Des
EVIEW
ign by
Alex C
S
rowfo
ot
Right: Dangermous & Jemini’s
Ghetto Pop Life with close-up of
the embossing inset
Some people, as the cliché goes, know the price of everything and the
value of nothing. These people, if they were releasing a record, would
be unlikely to shell out for embossing. An embossed sleeve is often a
sign that someone gives a shit. It costs more money. You have to go
out of your way to make it happen. You have to care. It could even be
argued that embossing is a manifestation of love. And as we all know
that’s what makes the difference. In the last year I have seen some
incredible embossing on record sleeves. This could be due to an
advance in embossing technology, or it could be a reaction to the twodimensionalisation of design that’s occurred since the emergence of
the screen as dominant graphic medium. Or it could also be due to
the passion of one design company leading the way. Whatever the reason, embossing seems to have entered a new era, so it’s time for a
selective retrospective, with an emphasis on the recent output of
Warp offshoot Lex. More examples from the recent and not so recent
past are also available at cyclicdefrost.com. It’s very hard to photograph embossed paper, however. Hopefully this will prompt you to
look out for these designs and see what they are really like. Like most
art, you need to see the real thing.
WHAT IS EMBOSSING?
Embossing is the process by
which areas of paper are raised
into bumps. Debossing is not the
process of creating out-of-office
activities for your manager in
order to be left alone to do your
job, but rather is the reverse of
embossing. To emboss, part of a
design is cast in metal. These
shapes are then stamped into the
paper. Often embossing is used
to highlight a title, or a logo. A
braille typewriter is essentially
the same principle.
Coincidentally embossing without corresponding ink markings
is known as blind embossing.
Various
Lexoleum Tile 1
(Lex 2003)
Format: 3 x 12” vinyl
Designer: eh?
Leading the pack, as far as I can see, are the designers at Eh? who, as well as possessing a name that
approaches genius, have been turning out some
breathtaking work for Warp’s hip-hop offshoot Lex.
Often embossing is “pretty” and takes one of a few
forms: the embossing of text or a title, of a logo, or a
to pick out parts of an illustration. Here, on the second Lex release, debossing is used to bring a realistic texture to a painting of some lino floor tiles,
complete with irregularities, scratches and gaps
between tiles. There’s a lot of detail – it took some
doing. Also embossed are the cheesy “sparkles” on
the word Lexoleum. And, as if to say “you thought
we were finished?” the centre of the letter “o” features a blind deboss. Such is the quality of this
design that it could just as easily star in a feature on
the use of metallic inks, varnishes (entire illustrations consisting only of varnish) and hand-drawn
typography - with a footnote on die cuts. In a league
of their own, despite the slightly nauseating colour
combo on this release.
DM & Jemini
Ghetto Pop Life
(Lex 2003)
Format: CD
Designer: eh?
Another shining star from Eh? comes in the form of
this card slip case and gatefold insert for DM &
Jemini. A masterpiece of gold foil stamping and
embossing, this sleeve manages to say bling and
anti-bling at the same time. The decadent use of gold
foil and gold metallic inks contrasts nicely with the
use of grown-up graff that tells a story. On the outer
sleeve a cartoon cat and mouse are seen inside a safe
- a treasure trove of gold and gems. The cover of the
gatefold inside finds the mouse in pre-robbery mode,
dreaming of the riches he’s about to find. Thank god
they left some white space on the inside of the
design or it would be one super-rich triple chocolate
and whipped cream pudding. But on to the embossing, on the outer cover. It’s difficult to tell if the gold
foil stamping involves debossing or not, suffice to
say it’s very slightly recessed. Then we’ve got large
areas of blind debossing on black with what looks
like an underprint of vignetted metallic gold. These
guys do nothing by halves. The debossing is a
swirling organic texture of tiny dots, some only the
size of a pinprick. This pattern also appears on the
back and on the spine. A tiny misregistration of the
deboss means that a few dots intrude on the gold foil
but it’s still damn accurate. The sparkle on the gems
may have been stamped separately, as you can still
make out their shape as they cross other areas of
gold. Not content to leave it there, the letterforms
from the Lex logo are blind debossed into a gold
ingot on the back cover. The inner sleeve, where the
mouse is about to open the safe, is like a lesson in
the visual richness that can be achieved with twocolour artwork. Worthy of mention is that these
releases come shrink wrapped with a on a sticker
holding the artist information and bar code. This
leaves the slip case free of the usual graphic
intrusions and the dilemma of what to do with the
bar code.
Non Prophets
Hope
(Lex 2003)
Format: CD
Designer: eh?
Like DM & Jemini, this CD comes in a card slip case
with gatefold insert. Anything would look subdued
in comparison to that release, but this is another
highly detailed and visually absorbing sleeve. The
embossing is restricted to the front cover here, this
time it picks out the detail in a kind of gothic graff
illustration of Christ being crucified on a ship’s
anchor, surrounded by what could be mutated cog
wheels. Beyond that, stars shoot out from the elaborate centrepiece. The finely detailed emboss is exaggerated by the skilful use of a gloss varnish on the
unembossed portions. A characteristic contrast with
this graphic finery appears in the remainder of the
cover illustration and its soft pencil/charcoal textures. The hand-drawn type on the back references
ornate manuscripts, completing the updated gothic
aesthetic which suits Sage Francis’ raw and
unapologetic confessional lyrics. The inner gatefold
displays a more thoroughly contemporary abstract
form before opening to reveal some lo-fi blackletter
hand lettering, all in black and white. The inner
and outer sleeves don’t quite hold together as well
as “Ghetto Pop Life” and there is a lack of sophistication in the typography, particularly some awkward line returns but that’s like saying you don’t
like the seat fabric on your Porsche 911.
Jonathan Wolf and Andrew Broder
Hymie’s Basement
(Lex 2003)
Format: CD
Designer: burlesque design / eh?
Yup, another card slip case and gatefold. Totally
contrasting graphic style this time, perhaps because
the initial layout was by someone else. It’s still a
nice job, with a studied lo-fi feel. Angled black and
white images with ripped edges are overlaid with
squared-off areas of spot varnish on both the outer
and inner sleeves, a nice touch being that the spot
varnishes on the inner sleeve image are “ripped.”
All over the artwork are red pen marks and my
overactive imagination suggests that it is a dismissive comment on the original art by the people ar
Eh? but that’s most likely crap. Anyway, the red pen
is where the deboss comes in. All these red pen
marks have been indented, creating a very convincing trompe l’oeil – it really does look as if the artwork has been crossed through.
Detail of the Hymie’s Basement release
See cyclicdefrost.com for a more
comprehensive overview of
embossing – including releases by
Durutti Column, Ultravox and
Muslimgauze.
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Abbey Road
(Capitol, 1969)
Age 0-5
Music vs Physics have strode an idiosyncratic path
Let’s start at the beginning. This album is the soundtrack for the earliest memories I have. It got some
throughout their career. Beginning with one of the
serious airtime in my childhood, I’m
unsung gems of the late ‘90s in their instrumental
half-convinced my dad must have listened to it three
debut Northside Perspective, they have since
times a day for five years or something. I’m pretty
added live drums and vocals – along the way
sure this was the music that introduced me to music.
developing a versatile live show that fills dance-
floors as much as it fills minds. Though firmly
grounded in hiphop, they manage to steer clear of
the cliches of the genre merely by being themselves,
which is refreshing – especially when it results in
something like 3rd Dek’s (production/ rhymes and
scratching) prediliction for using a custom-made
mouse rather than a crossfader to scratch. They
also figured prominently in the Symbiotic System’s
compilation Ants Farm Aphids, which was one of
the highlights of 2003.
The Smiths
The Queen Is Dead
(Warner, 1986)
Age 11
One day my older brother returned home with this
album and the rest of us had copies in a week. Up
until this point my music collection pretty much
consisted of cassette recordings I had taped off SAFM: ‘Hits of ‘84’, ‘Pop Charts of ‘85’, and ‘PrePackaged This Is The Music You Like of ‘86’. This
album sent me down the path of listening to music
that I guess would be dubbed ‘alternative’, and led
me to discovering a whole cache of music I
probably would have never found.
Sonic Youth
Goo
(Geffen, 1990)
Age 14
The first time I heard someone making giant racecar
sounds on a guitar I knew I wanted to make music.
Unfortunately I lacked the guitars and amps, but
there was something about this album that told me
it didn’t matter. After messing around with tape
experiments and microphone feedback for awhile I
realised it probably did matter, but at least the seed
had been planted.
A Tribe Called Quest
Midnight Marauders
(Jive, 1993)
Age 16
I had been listening to a bit of hiphop for a few
years but this was the first hiphop album I ever
bought. It defines the crossover from guitars to
samples for me. The simplicity of hiphop
production opened my eyes up. I learnt a hell of a
lot about production from cutting this album to
pieces on my parents’ computer. Soon after this I
hooked up with some producers in Adelaide and
got introduced to my first ever sampler.
Tha Lumbajak
Blue Ox Breaks
(Bombay, early 90s)
Age 18
This record was my first battle album. As an aspiring young turntablist, it felt good to finally get my
hands on that all important ‘Ahhh this stuff is really
fresh’ sample. Up until this point I had been using
spoken word albums (mainly old children’s storybook albums) and you can drive yourself, and
everyone else, insane learning to cut with
Rumpelstiltskin and Goldilocks. Although I can’t
remember a single break on this album, I can recite
every single sound in the last centimetre of both
sides. Brains are weird.
BEATRIX’S SELECTION
Neil Young
Harvest
(Warner, 1972)
When I was ten I stumbled across a dusty turntable
in the garage. I set it up in my bedroom and was
eager to test it out. As I had no records of my own I
had to settle with my dad’s collection, which
included Harvest by Neil Young. I instantly fell in
love with his voice, lyrics and guitar. I would lock
myself in my room for hours and sing along to
‘Heart Of Gold’. This experience not only prompted
me to get an acoustic guitar but also helped me discover my love for vinyl.
Billie Holiday
Greatest Hits
(Sony, 1998)
Billie Holiday’s voice blows me away when ever I
hear it. Her voice is like a free-flowing spirit with
no constraints. The combination of Billie’s textured
voice, the instruments and record crackle all meld
together like a sweet humming horn. Billie’s live
recording of ‘Solitude’ with her orchestra is by far
my most favourite song. If you’re feeling lonely,
Billie’s crooning soothes your soul and makes you
revel in your lonesome mood. Billy made me realise
that there is a lot more to singing than just being in
tune.
Nevermind
Nirvana
(Geffen, 1991)
Nirvana was my introduction to grunge music. Kurt
Cobain’s simple chord changes and melancholic
vocals really touched a spot in my cynical teenage
heart. Nirvana made me realise that simple songs
can be just as striking as complex compositions.
When I was 14 I went to the all ages Nirvana gig in
Melbourne. As you could expect, I got trampled in
the moshpit, but luckily a kind bouncer let me and
my friend hangout sidestage. From this close angle
we saw a big trucker dude throw a can of beer at
Kurt’s head, he didn’t even flinch!
God Speed You! Black Emperor
Yanqui U.X.O
(Constellation Records, 2002)
This album is like a big, grey, ominous orchestral
storm slowly marching towards a tranquil blue sky,
and at times covering it completely with heartstomping thunderous sheets of melodic noise. The
slow haunting builds and monstrous crescendos
make this album ideal for those times you feel like
being engaged in your deepest darkest thoughts. All
of GSYBE albums are extraordinary and I find them
most effective when played really, really loud!
LALI PUNA Faking The Books
Adored by Radiohead. Pop
with distorted guitars and
distinct, beautiful electronic
compositions and of course
Valerie Trebeljahr’s amazing
vocals. Includes members
from The Notwist, Tied And
Tickled Trio and Console
“A divine rock-techno marriage, progressive electronics and new wave
melodies powered by drone jazz gusto and motorik propulsion.” SPIN
The Morr Music label // Distributed by
Buck 65
Man Overboard
(Anticon, 2001)
This album has probably
influenced me more than any other hip hop album.
Buck 65 has the ability to fuse hip hop with country, folk, heavy metal, blues, etc. Buck 65 has
proved without a doubt that hip hop has evolved
into a genre that can encompass any kind of music.
His husky, old man, narrative, rapping style sets my
mind a wandering. Has anyone noticed how similar
Buck 65’s voice is to Jim Henson’s ‘Rolf the dog’
voice from The Muppets?
Music Vs Physics’s new 12" is
reviewed in web version of issue 8
see cyclicdefrost.com. Underscore
is available now on Sensory
Projects through Inertia
ISAN Meet Next Life
Wonderful melodies and soft rhythms to transport you to far-off
and imaginary landscapes. The sounds of glockenspiels, guitars,
percussion and an aged drum computer – this is dreamy.
“All twelve pieces are exquisite jewels. Time stops when you
put this on.” WWW.PITCHFORKMEDIA.COM
MAN’S BEST FRIEND The New Human is Illegal
Sole of Anticon’s political, lo-fi side project. Shitty guitars
run through broken reel to reels, rusted keyboards and
over-compressed radioshack mics.
“...angry, often hilarious attacks on this bullshit country over
beats and loops that sound like Portishead” ROLLING STONE (US)
DEA R
A REG
U
Dear Degrassi,
I’m planning a holiday away soon. Do you have
any ideas of where I should go?
Wandering Star
I can help you get away from it all whilst catering to
your need for lashings of pop culture. However,
since you didn’t specify your budget or your level
of comfort, I’ll provide you with a number of different options catering for the backpacker and 5-star
Princess alike.
If you’re looking for a cheap but cheerful Meccalike pilgrimage across the United States of War
Mongers, what better way to do it than following
the steps of Danielsan aka the Karate Kid? Yes, this
a bit of a pick-your-own-adventure style holiday
where you won’t have to put up with a tour guide,
but that also makes it free… ish. It looks as if I’ve
found someone who has out-Degrassied me – there
is a website dedicated to The Karate Kid which
shows a monumental surplus of time and an
unhealthy (even by my standards) interest in the
first two Karate Kid films. Don’t believe me? See for
yourself at www.fast-rewind.com/kkid. Golf n’
Stuff… it’s all there!
To convey the feeling that Danielsan was not from
an upper-middle class Country Club kinda family,
the director insisted on using real locations and didn’t make too many alterations to them either. As a
result, you’re more likely to see more of the locations from the Karate Kid films than just about any
other film, since most are filmed on sound stages
that are disassembled once the film wraps.
Unfortunately the plague of mega-mall homogenisation has led to a number of these sacred sites being
but a memory etched in cyberspace by über-nerds.
DE G R
LAR D
OSE O
F IRR
EGU
Still,
LAR P
OP
if your up for a
cross-country drive, with very
little to amuse you along the way, then this
could be the holiday for you.
If donning some lederhosen is more your kind of
thing, then join me in Salzburg, Austria, for a reimagining of The Sound of Music. I’ve never made
any secret of my love for Maria Von Trapp, and I
will refuse to make any apologies for it. Although
I’ve not yet made it on to the tour, it is definitely on
the top 100 things I’ll do once I turn 30. Like
karaoke, I imagine that it would be a judicious move
to pack at least one hip flask of grandfather port for
each hour of the tour (that’s four per person) because
it’s always more fun to belt out off-key Broadway
tunes when you’re absolutely shit-faced. But if that’s
a little out of your price range, how about getting
uninhibitedly naked bar a pair of hiking boots and
visiting www.foxhome.com/soundofmusic?
(By the way – remember that late ‘70s Spider-man
TV show with really dodgy special effects because
they superimposed video and film? Well the man in
the red tights was none other than spunky Friedrich
Von Trapp. Oh, and Louisa Von Trapp posed nude
for Playboy years after TSOM.)
Truly, any trip to the west coast of the States that
doesn’t include a day dedicated to The Dirty Harry
Tour of San Francisco (www.movietours.com/harry),
is a trip wasted! Harry Callaghan was the baddest,
meanest, and dare I say it, hunkiest cop to ever
enforce the law on the streets of ‘Frisco. If you
haven’t already seen Dirty Harry steer clear of me
when you see me in public, but also, make sure that
you view it in its historical context. It devised the
template for films such as Die Hard 3 in much the
same way that Play Misty for Me pre-dated Fatal
Attraction by more than a decade. So while you’re
in the approximate vicinity, you’d be a fool or just a
plain ol’ Clint-hater if you don’t also take in The
Play Misty for Me Tour of the Monterey Peninsular
(www.movietours.com/misty). If you think Ken
ASSI
CULT
URE
Sherry
and Richard
Mercer are originals, they ain’t
got nothin’ on Clint’s DJ Dave Garver who
brings his late night jazz lovers ‘a little bit of song
and a little bit of verse’. Chicken delight!
If the idea of jumping into a minibus with a
bunch of strangers and some guide who appears to
have taken a near fatal dose of Marcia Hines’ Own
anti-depressants makes you retch, then step with
me, away from the bucket, towards www.famouslocations.com for a more DIY approach. Sure, you
have to do all the legwork yourself, but that also
means you can tailor it to your means. The locations
can be somewhat vague, however when an address
is available, they deliver. Since I was already in the
Bay Area I investigated another of my favourite
films, Hitchcock’s 1958 masterpiece, Vertigo. Of
course since the film has been ‘paid tribute to’ so
many times in films such as Dressed to Kill and the
mini-series, Tales of the City, even those who
haven’t seen the original will recognise most of the
landmarks. You’d be surprised to find where some
of your favourite flicks have been filmed.
Alas, the website is not so all encompassing as to
include a DIY guide to the best adaptation of
Homer’s Odyssey thus far (apologies to the Cohen
boys, yours is a close second), The Warriors. And
extensive searches for any enterprising Brooklyn
locals have also proved fruitless. So I implore any
NY natives that somehow read this zine to rectify
this situation, post haste. Surely the loose change
needed for a daily travel pass, a knowledge of the
working NY subway and good vocal projection capabilities are all that are needed…
Cyclic Defrost is Australia’s only nationally distributed independent
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Issue 9 September 2004
Issue 10 December 2004
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return with their new album
Also available:
Finally We Are No One
The wonderful new
album from Icelandic group múm;
Summer Make Good is a collection
of playful and delicate songs created
from a spellbinding blend of live
instruments and electronica, sure to
please fans of Björk and Boards of
Canada. Undoubtedly some of the
most gloriously beautiful music
you’ll hear this year.
Available at all good record stores // Distributed by
Inertia distribution // 02 9698 0111 // www.inertia-music.com // [email protected]