?cyclic>
TRANSCRIPT
?Cyclic><Defrost}
¬Issue~29\
© ®FREEin Australia
Cyclic Defrost Cover.indd 2 19/08/11 4:14 PM
Contents04 Cameron Baird|AlexandraSavvides
10 Live and Let DIY|AlyssaCritchley
16 Benedict Moleta|JoshuaMeggitt
22 Part Timer|BobBakerFish
26 Home Normal label retrospective | SuneelJethani
30 Plaid|ChrisDownton
34 Maria Minerva|LyndonPike
38 AXXONN|TomHall
44 Cyclic Selects|DonnyBenét
latestreviews
Nowallonlineatwww.cyclicdefrost.com/blog
EditorialFromEstoniatothestreetsofMarrickvilleinSydney,thisissue
ofCyclicDefrostcoverssomeverydiversesonicground.
AlyssaCritchleytakesalookinsidetheburgeoningSydneyDIY
sceneandinparticulartheeventsaroundDecolonisefestival.
FollowingthedevastatingearthquakeandtsunamiinJapan
earlierthisyear,SuneelJethanitakesalookatitseffecton
HomeNormal,thelabelrunoutofSaitama,JapanandtheUK.
Ourphotofeatureinthecentreofthemagazinefeaturesthe
workofTomHall,whodocumentedhistouraroundAustralia
earlierthisyearasAXXONN.DonnyBenetprovidesaneclectic
andveryentertainingtakeonCyclicSelectslateroninthe
issue.
Don'tforgetcyclicdefrost.comwhichhasallthecontentfound
inthisissue,aswellasadditionalbonusmaterialincludingan
interviewwithSeunKutiandaprofileofMelbournebeat-maker
ElectricSeaSpider.
Thanksforreading,
ShaunandLex
Editors
Stockists
ThefollowingstoresstockCyclicDefrostalthougharrivaltimes
foreachissuemayvary.
NSW
AllMusicByron,CastleRecs,ElectricMonkeys,Explore
Music,FishRecords(innercitystores),Freestyle,Freestyle2,
GongRecords,HumonKing,HumonOxford,LeadingEdge
Penrith,LeadingEdgeWarriewood,MallMusic,MarketMusic,
MuseumofContemporaryArt,Metropolis,MusicBizarre
Lismore,PlumMusic,TheRecordStore,Recycled,Red
Eye,Redback,Reefer,SalamanderSound,SoMusic,Spank
Records,SpotMusic,VoyagerIvanhoe
VIC
CentralStationMelbourne,Greville,Heartland,JFPorters,
LeadingEdgeBendigo,LeadingEdgeGeelong,LicoricePie,
Metropolis,MissingLink,NoiseExchange/Synaesthesia,
Northside,Polyester,ReadingsCarlton,RecordCollectors
Corner,SisterRay,Slap,VoyagerPortMelbourne,WeSell
Music-Mildura
QLD
ButterBeats,Caneland,CC-Harbourtown,Cosmic,Leading
EdgeMusicScene,Revolver,Rockaway,Rockinghorse,
Skinny’s,Sunflower,Taste-y,ToombulMusic
SA
BSharp,BigStar
WA
ChinatownRecords,Dada’s,Mills,
PlanetVideo
TAS
ChilliDJ,Mojo,Ruffcut,WillsMusic
ACT
Landspeed
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Casurina,Chatterbox
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Cyclic Defrost MagazineIssue 29 | October 2011 www.cyclicdefrost.com
Editor-in-Chief
SebastianChan
Editors
ShaunPrescott|AlexandraSavvides
Art Director
ThommyTran
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Issue 29 Contributors
AdrianElmer,AlexandraSavvides,AlyssaCritchley,Benedict
Moleta,BobBakerFish,ChrisDownton,innerversitysound,James
Horsfall,JoshuaMeggitt,LyndonPike,NickGiles,OliverLaing,
PeterHollo,ShaunPrescott,SuneelJethani,ThommyTran,Tom
Hall,WayneStronell,WyattLawton-Masi,YifengNi
Cyclic donors
HugethankyoutotheadditionalfinancialsupportfromMurray
Woodman,BenAskins,DanielBrophy,AlanBamford,Kath
O'Donnell,ScottBerry,JohnIrving,AlexCameron.
Thank You
Asalways,ourheartfeltthankstoallsubscribersofCyclic
Defrostandalldonorslargeandsmall,aswellasour
contributorsfromourregularwritersandreviewers,toguest
photographers.ThanksalsogotoHughandallthestaffat
UnikGraphics,DonnyBenetforagreatCyclicSelectsand
CameronBairdforastunningcoverforissue29.
This project has been assisted by the Australian Government through the Australia
Council, its arts funding and advisory body.
?Cyclic><Defrost}
¬Issue~29\
© ®FREEin Australia
Cyclic Defrost Cover.indd 1 19/08/11 4:13 PM
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“Quote. ”Olobore dunt am digna feugiat la consequi el ullaor in utatem iriliquipit in veraese conullu ptatue faci tatiscillan venibh erit adignim incilla facidui bla feuis autationsed eliscilit do coreril eniam, conse venim in.”
t’sedgingtowardstheendofwinterastheinkyblueskyaboveSydney’sCamperdownushersinthatpromisinginterimbetweenduskandeveningproper.ThecolouralmostperfectlybringstomindtheimagerythatCameronBairdcreatesforanumberofalbumandEPdesignsonTheFrequencyLabimprint.Imagesofthecosmosspliceddelicatelywitharchivalphotosallseemtolinkbacktothisonecolourthat’spermeatingthenightsky,likeareal-life
recreationofoneofhisrecentcovers:JonnyFaith’sBlue Sky On Mars.“IthinkI’mextremelyinterestedincollage,”hesays,aswesitdowntochat
inthecornerofthewarehousespacethathouseshisdesignconsultancySensoryCreative.“AsasmallboyIprettymuchwallpaperedmybedroomentirelywithmagazinescraps,themajorityofthemwerewomenandsportsstars,itwasabitofahilarioussightatthetime.ThatprocessofthefoundobjectbeingcutoutandappliedinamashtoanoveralllandscapeissomethingIwasextremelyfondofdoingatthatage.“
DesignsforreleasesliketheFictitiousSevenseriesof“digitalvinyl”(twotracksoneither‘side’imitatingtheethosof7-inchsingles)certainlyseemtoechothisneo-decoupageaestheticthatBairdfavourssohighly.Thevisualenvironmentismadeupoftextures,photographicelementsandtypographyalloverlaidinresponsetothemusiccontainedwithinthesleeve.“AlotoftheFictitiousSevenstuffhasbeenverymuchbasedontheorganic,theearth,the
I
CameronBaIrd
Cameron BairdLocal
byAlexandraSavvides
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land...Ithinkit’stryingtobuildonathemebutatthesametimealotofthemusichasdictatedthatthat’sthedesignidea.”
ThiscomplementaryrelationshipbetweenthevisualsandmusiccanbetracedbacktoBaird’sloveaffairwiththesaxophone,whichheplayedfor12years.”Inawayjazz,whichbecamesuchathoroughparttomypractice,wasarealgenreofcollage.Itwasamix-matchoflearningdifferentstylesofthatinstrument,butitwasalsoinitselfquitevariedinitsexecution.”ThisinfatuationhasslowlyevolvedintoBaird’sever-growingcollectionofCDsanddigitalreleasesthatnowname-checksartistsontheFatCity,StonesThrowand!K7labels(justtoscratchthesurface)and“everythingyoucannodto.AlthoughoverthelastfewyearsIhavebecomemoreandmoreunhappywithcertainstylesofdancemusicwhichIthinkaregenerallyquitebadontheears.
“Ihavethepleasureoftorturingallmembersofourstudiospacewithmymusic,Iprettymuchdominatethelibrary,”hesays,hisvoiceechoingaroundthenow-emptyroom.It’snowclearastohowimportantbeingthemusiccontrollerreallyis,giventheexpansivespacebeforeus.“Ibuymusiceverydayofmylife,prettymuch,whetheritbeoneofthemanydownloadsthatIfindthroughanynewslettersthatI’mreadingormonthlysubscriptionsofmusicthatIhave,andI’vealwayswishedIhadmoreofavehicletoplayit.”
Ontopofdesigning,BairdalsorunstheSoundNotSeenartsandmusicblogwithHuwEllis,RobSomatikandThomasStuddy.It’s“alongoverduemusicdump”accordingtoitsaboutpage,andactsasavehicleforallinvolvedto“bangheads”abouttheirmusicloves.“Mymaininterestatthemomentisabithardtopigeonhole.I’mfindingalotoftimeforactslikeLetherette,andthat’sinarealfusedkindofbeat-scape,thelatestEPisreallyflexible,lotsofupanddowntempos.Thatkindofinstrumentalhip-hopisreallymyflavour.”
Outofallthemusic-relateddesignwork,Baird’srelationshipwithTheFrequencyLabseemstoproducetheoutputhe’smostfondof.Iaskhowthecollaborationbegan.“It’sagoodmemorytotryandrecount,”hesays.“IfirstgottoknowChris[Hancock,akaMonkFlyandlabelhead]throughJonnyFaith
andthroughtheHeadroomprojectthattheguyswereworkingon.IhadbeenworkingwithLorna[Clarkson]doingCDRandknewLornathroughgraphicdesignworkfromherpreviousdaysatFloatingPoint.Lornawasareallygoodfriendandshedecidedshewasgoingtodomorethanjustlabelwork,shewasgoingtodoCDRandwantedmetobeinvolvedinthat.I’mabigfanofthewholeCDRprocesssoIgotinvolvedfromthebrandingallthewayupbutatthesametimewassuchamusicenthusiastthatIlovedtheidea.
“ChriswasinvolvedintakinghismusicdowntoCDRandsotoowasJonny,sotheysawmystuffandgotintouchandsaid‘we’regoingtobedoingaHeadroomgig,wewanttoknowifyouwanttobeonboard’.Ithoughtthemusicthatthoseguyswerepushingwasreallyforwardthinking.Iwasreallypassionateaboutthefactthatitwasquiteeclecticandonahip-hoptip,whichisabitofapetloveofmine.Buttobebrutallyhonest,justmeetingtheguys,theyareextremelylovelyguys,withgoodspiritandheartforshowingpeoplenewmusic.ItbecameprettybasicthatIwouldbeinvolved.Iwouldmuchratherdoitfortheinvolvementthanforthepersonalbenefit,andthat’sevidentbythefactthatthoseguysreallyrunonashoestringtogetthingsdone.
“WhatmadeiteasierwasthatIenjoyedthemusicsomuch.Ithinkwhattheyweredoingwasreallyunique,pushingtheboundaries,notnecessarilycallingeveryonetoadancefloor,makingeveryonereallyhaveathinkaboutwhattheywerelisteningtoandtobeabletodesignforthemusicaroundthatwasabitofafunthing.Igetanopenbriefforthemtoowhichisarealpleasure,it’slovelytobetrustedtodoyourjob.”
ImbuedwithinBaird’sworkforChrisandJonnyisanoverarchingsenseofnostalgia,whichcomesfromusingarchivalfootage.It’saninterestingjuxtaposition,fromavisualandideologicalstandpoint,consideringthemusicheisdesigningforisfarfromathrow-backtothenearpast.Futuremusic,futurebeats,forward-thinkingtunes,Bairdexplains,isn’tasseparatedfromthisvintageimageryasyoumightfirstthink.“I’vealwaysbeenfondofjustthestyle,colouranddesignofthingslikelandscapesandthecosmos...it’s
“It’s lovely to be trusted to do your job”
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somethingthatgivesyoualotoffodderfortextureandissomethingfuntoworkwith.Ialsoliketothinkthatahugepartofalltheirmusicalsoundsharksbacktooldersounds.There’snotoneofthoseguyswho’snottryingtofindanoldsynthoranoldfilterthatcanbereworkedintooneoftheirtrackstotryandcreatenostalgiaofsomeform.
“It’sreallyinterestingtoknowhowyoucanplaywithdifferentperiodsoftime.It’snicetoknowyoucanstillrunincycles.Inessenceit’sawaytotryandcreatesomethingdifferenttowhat’scurrentlytoomodernaboutotherthings.“
ApartfromdesigningvisualsforTheFrequencyLab,BairdisalsoinvolvedwithcreatingtourworkforNicheProductions,andhasdoneartworkforMadRacketandFutureClassicevents.There’sadefinitelyadifferencebetweenthecommercialsuccessesofNichewith,say,CDR,whichBairdrecognises.“AlthoughIlovetheprocessdearlyforthehistorythatwe’vehadandIrespecthowsuccessfulJames[Browning]andNichehavebeenIdostrugglewiththefactthatI’mlimitedtothechancesandrisks[they’re]preparedtotakeonmyartwork.”
Commercialviabilityissomethingthatclearlyaffectswhatappearsonthepagebeforeus,onatourposteroronthefrontofaphysicalrelease.Buthowdoyouknowwhatwillsellyourtourorproductinadesignsense?
“ItwouldbefairformetosayI’mnotthegreatestdesignerintheworld,Imean,IoftenwanttobebetterthanIamandIthinkIoftenlookatalotofpeopleoutthereandIseethemasbeingtrulygreatdesigners,”Bairdoffers.“Locallytherearetonsofreallytalentedpeopledoingsimilar,doingbetterworktomeandIlookatwhatthey’redoingasbeingfarmorecommerciallyviablebecauseit’sjustbetter.
“ButIthinkthedisappointingthingaboutSydneyperhapsisthatIthinkfartoomuchofwhat’sbeingproducedisjustthesame.Yeahyou’reinspiredbywhatyoudigestouttherebuttoomanypromotersarefartoosafeandtoomanypeopleexpecttoseestuffthey’vealreadyseenandthereforethey’renotgivingthedesigneranyofthat‘you’rethedesigner’creativefreedomthatyou
“I have the pleasure of torturing all members of our studio space with my music, I pretty much dominate the library”
want.“ChriswasalwaysreallyfondofmeasapersonwhichIthinkhelps.
Relationshipsarehugelyimportantbutatthesametime,theboyscametobebecausetheysawsomethingthatIdidthattheyliked,anditwasajobthatIdidthatIliked.Itwouldbegreattoseecommercialviabilitybestowedtothedesignerbecauseit’ssomethingthattheylike,andIthinkthere’ssomuchcreativejuiceinSydneywhereitshouldbeletgoof,itshouldbegivenitsreignstogo.Ihavebeatupsinthisofficespaceallthetimeoverwhatlooksgoodandwhatlooksbadandwhetherornotadesignerknows.ButIthinkonaverage,aseasoneddesignerknowswhensomethinglooksbetterandwhensomethingdoesn’t...andthenbetrustedtotakethatdirectionandriskfortheclient.Commerciallyviabledesignworkissometimesextremelylimited.”
Currently,BairdistakinginspirationfromconceptualartistJohnBaldessari(whowasmostrecentlybehindtheYourNameInLightsprojectatthisyear’sSydneyFestival)andmoderncollageartistssuchasMarioWagner,Hugo&Marie,LaBocaandRedDesignwhoareheavilygraphicintheirmethodofsplicingimages,textandthefoundobject.Themixedmediaaspectisparticularlyappealingforhim,andforthisissue’scoverreflectsthatinmanyways.“IguessI’vebeenextremelyfondofarchivelibraries...andtheshapesandthelinesthatappearwithinthatandbuildingthatintoanalmosttongue-in-cheeklandscapewhereindividualseitherchangetheiridentity,cuttheirheadoff,orIgivethemanewposition.Thisonewasacomputercompany’sarchivelibrarythatIpulledapartandwantedtogenerateitinawaythatatleastreferencedcycles,henceCyclic,butitwasmoreinthewaythattherewasasymmetrytothedesignandtherewasanindustryparallelwithmusicandthereweregadgets,knobs,sounds,generalplayinvolvedwithindividualsthatwerefromthisfoundlibrary.”
Cameron Baird is a director of Sensory Creative. His portfolio can be viewed at www.cambaird.com or www.sensorycreative.com.au
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enjoyapunkfestivalfullofpunkmusic.SomeonemakesafriendlyremarkIdon’tquitecatch,butIhearapatterofapplauseandsomemorebanterandthentheband,Lena’sband,Tangle,beginplaying.IthinkofhoweasyitwouldbetosaythatDIYhappensforonereason,andtheseautonomous,independentlyorganisedfestivalshavesimilaraims,butthetruthisthatthereasonsarevaried—a‘tangle’—andthepeoplewhomakeupthesecommunitiesoftenhavedifferentagendas.Thereshouldbeno‘shoulds’inwhatautonomousperformanceachieves,butLena’swordstriggerthequestion:whatarethevariousaimsofautonomousperformance?Tobrutallysimplify:whyDIY?InarecordshopalongthestretchofroadthatissaidtohaveoncebeenapathwayforlocalAboriginalcommunitiespriortocolonisation,thefirstnightofthefestivalramblesonandwhenthebandsluggearaway,thefestivalmovesontoliberateanex-squataboveashoponamainarteryintheInnerWest.
TheDecolonise(Decol)festival,cameoffthebackofAlex’sidea(anotherfestivalwiththesamename,largelyorganisedbyAlexSzorka),
eep-redwallscoveredinpostersfromshowsoldandnewandlongshadowscastontheceiling.Ablack-cladcrowdstartstowardsthebackoftheroomwithhead-
noddingsolitude,herewhereIamstandingonafold-upchairnearthecurtainthatdividesusfromfluorescentlightandthehighway.Closertotheband,theaudiencebecomessilhouettesraisinglongnecksinbrownpaperandhairwhippingback-and-forth;bodiesbumpingandpushingandtwistingandstomping.
Sheisatthemicstand.Sheprobablytwistsittowardsherlips.InaloudvoiceLenarecognisestheindigenousownersofthelandandstressesthispoint:sovereigntywasneverceded.Sherepeatsit.Andregardingthenameofthisfestival,Decolonise,onthefirstnightoftheQueen’sBirthdaylongweekend2011,sheraisesthispoint:perhapsafestivalwhosename,inadvertentlyornot,referencesthestrugglesofthefirstpeopleofAustraliashouldaddresstheseverystruggles.Ornot.Wecouldfindanothernameandsimply
D
Live and Let
dIYLive and Let DIY
LocalbyAlyssaCritchley
PhotographsbyYifengNi
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ofbuildingafestivalaroundindependentspaces,saysJasonwhositsonadroopingloungeinthelivingroomofhisInnerWestsquat.Onthewallsandalongthestaircase,clippingsofdewy-eyedsealsandseascapesaretackedup—thedecorationsvestigesofthisspace’stimeasamarinescienceoffice.NearbysitshousemateFez,whoseNativeAmericanfeaturesareaccompaniedbyclustersofearrings.Abullringthatisadelicatesilvercurvethroughhernostrilsglintsassheleansforward,elbowsinherlap.ShecraftsherargumentswiththecornerstonesofMarxistandanarchistrhetoricandJasondisagreeswithheronalmosteverypoint.ItisnotDIY/punklifestyleasaresponsetothewasteinsociety,asoppositional,orasameanstoescapecapitalismthatthetwoagreeupon.Instead,theirDIYpunkfestivalisanopportunityforpeopletocometogetherunderaspaceortoimposeanethosonasite
—apaddock,awarehouse,analleywayintheindustrialarea.Anautonomousfestivalislivingtothefullestpotential.Sunkintothecouchandsittingbesideme,Jasonreferstothefestivalasa‘spotoffun’,achancetobringfriendsfromalloverAustraliatoshowthatSydneydoeshavesomethingtooffer.ThatfirstnightatBlackwire,Fezsays,betweenthosedeepredwallsandtheremindersofalongDIYpunklegacyintheformofhand-drawnpostersonthewall,shecharacterisesthefestival’sfirstnightaslike“afamilyreunion”.Itisthefestivalasopposedtothestandalonepunk/DIYshowthatisaninvitationthatdrawsinterstatersandout-of-townerstogetheragain.Onthiswinter’snight,theconversationmovesonwardsasFezpresentsneatanswers,articulateandclearinheraims,whileJasonresists,tuggingatthetornelbowofablackhoodie.Hisanswersarefrayedattheedgesincomparison
tohishousemate—almostnon-committalandheapologisesforthisfromthegetgo—buthespeaksmoredirectlyofplansfornextyear’sfestival.Iamsurprisedbyhisconviction.Itwillhappen.Itishappening.I’mhopingit’llbemorecentredononespace;thisyear’sfestivalfeltlikerenterscominginonanotherspace,thoughitisnotaboutthespace,assuch,butbringingtheethicsandideastothespace,hethinksandFezadds.LiketheSuchIsLifefestival,Fezmentions,wheretheorganisershiredoutapaddock—somepatchoflandonthestretchbetweenMelbourneandGeelong—andthepaddockbecomeseveryone’sandthefestivalbuildstobesomething‘magical’,withover300peopleconvergingonasiteawayfromthewailsofsirensortheorangehazeofpollutionthatappearsasthesunlightfades,thestreetlightsbrightenandthecity’snightcreepsin—‘itcreatesanintensityyou
“Their DIY punk festival is an opportunity for people to come together under a space or to impose an ethos on a site”
intersection”ofmusicculturesandcommunities.“TogetherwithBlackwireitbecameastaple,”heannounces,alongneckbalancedinthecrookofhisarm.“DecoloniseIandIIwereintendedtobecelebrationsofDIYspaces,acelebrationthatthecommunityhasenoughvenues,bands,people—resourcestopoolandbeselfsufficient.Acelebrationofwhatwe’vegotandacalloutforwhatwecando”.ThoughtheSundayeventwashastilymovedtoMidianduetobadweather,insomeone’shandwrittenprint,alongsideasimplifiedmapoftheInnerWestareademarcatingbottleshops,venuesandLebanesepizzajointManoosh,thefestival’sprogramhadincludedaPunkOutsideevent,whichisanongoingaffairBendescribesas“generallyanafternooneventwherepeoplewouldcomealong,laydownanddrinkafewbeers”withmusictakingplaceinalanebetweenwarehouses.TherewasoneparticularshowwheretwoIrishbrothersplayedsongs,someaboutconstructionworkersdyingonsitesbackhome,ferociousbreaththroughtinwhistleandthestrumofanacousticguitar.Thesunhadslippedbehindthehorizonandthecoldhadcreptintothebrickandconcretelanewayandthestillbodyofmurkystormwater.Itwasfreezing,hesays,andpeoplehadtohuddleinrealclosetohear.
don’tseeanywhereelse,’Jasonsays.Thentheconversationsettlesatthepointitalwayswould,onthecontentionoverthenamethatIcan’tquiteshakethememoryof.Oftheirfriend,Lena’svoice,amplifiedandpoppinginthemicasthoughcloseandfizzinginmyearandthequestionposed,asIsawit,innotsomanywords:whatdoweasacommunitywanttoachieve?Tothis,Jasonconcedeshe’dbeinterestedinpoliticisingthefestivalnextyear,andheandFezmentionanotherpunkfestival,aone-offeventinBrisbane,LiveandLetDIY,whichfeaturedascheduleofthreedaysfullofworkshops.Itisbothfestivals,one‘messy’and‘magical’andtheother‘intense’,‘powerful’and‘political’thatareheldupasinspirations.
Therewereallthesevenuesspringingup,AlexsayswhenIfinallyspeakwithhimaboutDecolonise,andheputshimselfbackinthecontextofJanuary2009.Butitwasaprecarioussituation,withthesemi-legalvenuesgettingintroublewiththecouncilandacouple—Louie’sandCosmo’sRockLounge—pullingoutofhostingsomeofthefestival’seventswhichwereplannedtospreadacrossthevibrantnew“colony”.TherewerearticlesintheInnerWestCourierabout‘raves’happeninginthelocalareaandthepiecespublishedreferredtotheverystreetssomeofthesevenueswerelocated
on.LivingatMgtvleatthetime,avenueandresidencefortheDIYpunkcommunityinSydney,Alex’sDecolonisefestivalgrewintoameanstogetadialogue“happeningbetweenothervenuesintheSydenham/Marrickvilleindustrialareathatwereall,atonetime,withinwalkingdistancefromeachother,downwidestreetssmotheredinpotholedasphalt,streetsofutilitarianbrickfacades,anareathatreekswiththesweetnessofcommercialbakeriesanddimsumfactories.Venuesthatcateredtodifferentscenescametogethertoshareinformationandfoundouthowtosurviveinaclimatehostiletosemi-legaloperations.
Mgtvlewasevictedsometimeafterthefestival—photosontheinternetshowedawarehouseguttedofitspersonality,justabareconcretefloor—butin2011,venuesthatarefiercelyprotectedorsomehowlegitimisedandutilisedasvenuesallowedasecondDecolonisefestivaltotakeplace.Outsideonesuchvenue,BlackwireRecords,huddledinthenookattheshopfrontofahi-fisystemsretaileralongthewindtunnelofParramattaRoad,IspeakwithBen,amemberofThylacine,whichwilllaterplayitsfinalshowonthefinalnightofthefestival.HetellsmethatthisfestivalwouldnothaveexistedwithoutMidian,aspacewhichcaterstoan“interesting
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IthinkofthePunkInside eventheldonthelastnightofthelongweekendandIamdisappointedthatthestreetswereslickwithaJunedrizzleandthatIwasn’tpartofahuddleinalanewaysurroundedbyemptybuildingsandlongweeds,watchingbandsperformassensorlightsflickered.Itisonthisfinalnightofthefestival,nexttothescreenprintingsection,thatIspeaktoLena,besidefreshlyprintedpatchesofthebandsthathadperformedoverthethreedaysandnights,andinMidian,anautonomousspacemadeavailabletothepunkcommunitybutnotquitetheirown.Aroundusandamongstthefestival-goersinblackhoodiesarethevenue’sorganisers:amaninaleatherjacketandgreyingponytailensurespatronsleaveandenterdiscreetly,awomenservessnacksandbeverages,anothermanwithaleatherwristcuffsitsatthesounddeskandanothermemberrushesaboutwearingabowlerscapandpatchworkdenimpants.Lena’svoiceisinmyearagain,“In2009therewerediscussions,workshops,filmscreenings–itwasmuchmoreaboutthevariedcommunitiesandthespacesinvolved,”shesays.“Thisyear,fromwhatIobservedbeinganinterstatecontingentandsomeoneaskedtobeinvolvedwithcontactingbands,itwasverymuchfocusedonhavingaDIYpunkfestinDIYspaces…DIY
“Venues that catered to different scenes came together to share information and found out how to survive in a climate hostile to semi-legal operations”
punkenthusiasm.”Nearus,theseveredheadofHRPufnstufisproppedupandleeringfromthecorner.“Idon’tthinkthere’sanythingwrongwithhavingaDIYpunkfestforthesakeofhavingaDIYpunkfest,”shecontinues.Later,whenIaskforcommentsonhervisionforDIYspacesandcommunitiesshesendsmeanemailclarifyingwhatshesaidthatnight,analmoststream-of-consciouschunkofparagraphsinlowercaseletteringendingwiththis:“IthinkDIYandallagesspacesaresoimportantandweneedtotakecareofthem.peopleneedtobechallengedsothatwecanprogressinourcommunitiesandinourlives.stayingstagnantisnotpunk,beingapoliticalinthesecommunitiesdoesn’twork.wecan’thavecommunitythatisjustaboutlookingatstuffandgettingdrunkandnottalkingtoeachotherortakingcareofeachotherwhenwethinkwe’rewrong.we’vegottogrowuptogether.”
AndIthinkofthenightIspokewithJasonandFezandtheconvictiontheyhadintheneedforautonomousspaces,especiallytomakethesefestivalshappen.EBL,theex-squatwhichwasliberatedthatfirstnightofDecolonise,willbecomeanon-residential,afterhoursspace,theyhadrevealed.Andspacesarealreadysetup,servingvariouscommunities,hostingartandbandsandzinefairs.ThereisCarrier,avenueinRozelle
whichtakesitsnamefromtheboldletteringontheroof–thenameofacompanythatvacatedthebuildingyearsago.I’veseenphotosofthespaceandthebuildingssurroundingit,surrenderedtotheinevitabledecay.Anofficebuildingturnedgreenhouse,chlorophyllgreenbloomingfromdullgreycarpetandmildewflourishingacrosswalls.ThereisMidian,thereisShirlows…AndnowinmymemoryIamspeakingwithAlexoverthephoneinmylunchbreakafteramorningofsortingthroughpressreleasesfortoursandupcomingfestivals,speakingwithsyrupyPRgirlsandhoveringonpromoters’websites–theslickmachinerybehindproductions,especiallythevariousAustralianmusicfestivalthathaveproliferated,freshinmymind.HespeaksonDIY,onorganisinganindependentfestival,onsupportingall-agesspacesthatarenotas“stifling”aspubvenues,asthewintersunshinestreamsdown.AbovethesoundofchildrenplayingintheparkaroundmeheagreesthattheDIYfestivalisinherentlypolitical.“It’sreallyempoweringtoknowthatyoudon’tneedsomeonetovalidateyoutodothethingsyouwant,evenifit’sjustputtingonshows,”hesays.“Ithinkit’sanimportantthingtoknowandIthinkforalotofpeopleit’snotthatobvious”.
CD
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LocalByJoshuaMeggitt
Benedict moleta
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Bragg,whosealbumDon’t TryThisatHomehadjustbeenreleased.Someofthesethingshavestayedwithmeovertheyears.ButIwasonly13atthetime,andIdidn’tstartwritingsongs,orreallygettingintomusicuntileightornineyearslater,afterschoolandafteruniversity.Asfarasearlymusicalinfluencesareconcerned,theTravelingWilburysalbumwasabighitterforme.That’sthefirstalbumIbought,IguesswhenIwas12.ThefirsttimeIheardHandle with Care,Iknewthattherewassomekindofmagicgoingon.AlsothesoundtracktoStandByMe–IwatchedthatmovielotsoftimeswhenIwasgrowingup,andBuddyHolly’sEverydayalwayssoundedlikeperfectmusictome.”
Giventheseunusualstartingpoints,Iwonderwhatpromptedthemovetostartmakingmusic?
“StartedprettylateIguess.Iwasn’tmadintomusicinhighschool–skateboardingwasreallymywholeworld.Iwasalsointoart,andafteruniversityIhadacrackatbeinganartist,settingupastudioathomeandexhibitingafewtimes.IonlystartedwritingsongsandplayingguitarwhenIwasabout20or21.SeveralofmyfriendstoldmeIshouldkeepatit,andgraduallyittookovertheartwork.Istartedplayingshowsin2001,andreleasedmyfirstEPin2002.”
Moleta’smusicisaninterestingblendofslow,confessionalacousticballadryandmoredynamicgroupinterplay.TheBenedictMoletaBandisnowhisfavouredavenue,providingamorevariedsonicpalette-helistsseventiesAmericanAORartistslikeTomPetty,Heart,BobSegerandBonnieRaittamonghisinfluences.Unlikethem,however,there’sameasuredausterityto
erthisafunnyoldplace.Themostisolatedcityintheworld.Thisfact–amongmany–contributestothebizarresocio-culturalmakeupoftheWesternAustraliancapital.Because–orinspite-ofthis,Perthhasauniqueandthrivingartandmusicscene,onelargely(althoughdecreasingly)divorcedfromhappeningsinotherpartsoftheworld,fosteringcloserelationshipsfrompractitioners,strongdomesticnichepursuits,andthecreationofpersonal,originalwork.
Thiscityisasubjectclosetomusician,artistandPerthnativeBenedictMoleta’sheartandwork.GrowingupinthebeachsidesuburbofSwanborne,Perthicons–bothbreathingandgeographic–populatehissongs,andheremainsastalwartperformeronPerthstages,longaftermanyofhisfriendsandbandmateshaveleft.
“Perthhasundergonesomequeerdevelopmentsinthepastfiveyears,thankstothelatestmineralboom.There'salotofmoneyaround,andalotofbrashfrontiertypebehaviour.NeverthelessIlikelivinghere.Someofmyfriendshaveleftovertheyears,butalotofmyfriendsarestillhere,andtherearealwaysnewfriendstobemade.Therearelotsofunusualplacestogoforwalksontheweekend.Ifindallthisinspiring.”
ImetBenedictwhenwewerebothskating,inthedeeplyunpopular‘skaterfaggot’daysoftheearlynineties.AsascrawnykidthreeyearsyoungerthanmeIwasimpressedwithhisdedicationtocreativepractice,theyoungest‘zineproducerandclothingmanufacturerthatI’veeverknown.Iwonderwhetherthisperiodinfluencedhislatermusic?
theband;analmostintellectualrestraint,evenintheirliveliermoments,thatvaguelyrecallsclassicallieder.
“Mylatemotherwasapianistandpianoteacher,andmydadhasalwaysbeeninvolvedinorganisingclassicalmusicevents.Mythreesistersalllearnedinstruments,andmyeldestsisterSophieisasongwriterwhohasreleasedabunchofalbums.IgrewupwithCatholicparents,andsanginschoolandchurchchoirs,plusChristmascarolsathome.Sotherewasalotofmusicaround,butasakidreallyIwasmoreinterestedindrawingandpaintingthanmusic.
“Asfarasclassicalmusicinfluencingtheactualstyleofmysongs,Iknowit’seasytodrawfancifulcomparisonsinretrospect,butcheckthisout.MydadsanginaplainchantchoirwhenIwasgrowingup,andIheardthemrehearsingandsingingweekafterweekthroughoutmyhighschoolyears.Iguessoneofthemoststrikingthingsaboutplainchantisthemonophonicvibeithas–onemelodyline.I’vealwaysbeenattractedtosingerswithverystraightsingingstyles,likeNeilTennantorTraceyThorn,andmysongsusuallyhavelotsofwords,withthesyllablesfittingintothebeatinaverystraight,sometimesrepetitiveway.ThisstyleofsingingmightberelatedtohearingalotofplainchantwhenIwasgrowingup.ProbablyalsowhyIfindhip-hopsoappealing.ThewaythewordsfitintotherhythmsinmysongsalsoprobablyhassomethingtodowiththefactthatImostlymakeupthesongssingingtomyselfinmyhead,whilewalkingtowork,orgoingforawalkontheweekend.The
“Idefinitelyheardalotofcoolthingsonskatingvideosoundtracks.That’showIfirstheardTheSupremes,SteveMiller,AlGreenandTheMamasandthePapas,andlotsofgreatearlyninetieship-hop.Butit'sreallytheskatingitselfthat’sinfluencedmymusic-oddasthismaysound.Inthoseweirdteenageyears,whenIguessalotofpeoplearediscoveringrock‘n’rollandpartying,Iwasspendingmyweekendsgettingbusesouttothesuburbstogoskatingatprimaryschoolsandshoppingcentres,usuallywithabunchofolderskaters,whowerefinishedwithhighschoolandwerekeenonsmokingtheweedetc.Comefivepm,theotherdudeswouldcontinuetheiradventures,endingupcrowdingintosomeone’shatchbackandfoggingupthewindowswhilelisteningtosomedopehip-hop.ButIhadtogethomebeforedarklikeagoodboy.Thosetraintripscominghomealone,withscabbyshins,SuzanneVegaontheWalkman,andschoolloomingthenextdayarebigmemoriesforme.SinceIgotintotakingphotosafewyearsago,IoftengowalkingaroundthesekindsofplacesonSundayafternoons,takingphotosofthebuildingsandthestreets.”
AmongtheseolderskaterswasDanielEricksonofslowcoregroupBluetileLoungeandlaterMukaizake.Didthesebands,andthemyriadmusiciansintheircircle,makemuchofanimpactthen?
“IspentsometimelivingwithDanandhisfamilyoverthesummerof’91-’92.ThroughDanIheardalotofearlyninetiesindiebandslikeUncleTupelo,SonicYouth,AmericanMusicClub,TeenageFanclub,RedHousePainters,Slint,PalaceBrothersetc.Dan’syoungerbrotherTimwasmadintoBilly
P “I wasn’t mad into music in high school – skateboarding was really my whole world.”
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stage?“Iwaskeenonnormalpubshowsinthefirstcoupleofyearsof
playing(2002-2003).Beingnewtothemusicscene,Iwasstokedonseeingpeopleplay,andmakingfriendswithpeoplewhowantedtohangouteverynighthavingagoodtime.But10yearslaterIhaven’texactlygatheredabigregularfollowingatnormalpubshows,andmymusicsometimesfightsalosingbattleagainstnoisefromthebaretc.Ofcoursethereareexceptions–therehavebeengreatpubshowsovertheyears,andthereareafewvenuesinPerthatthemomentwhicharedefinitelydevelopingalisteningenvironmentforabroadrangeofmusic.ButIgottasay,alltheshowsI’veputonoutsidethenormalvenuessince2005havebeen100percentsatisfying.Asmallregularfollowingfortheseshowshasdevelopedovertheyears,andwhennewpeoplecomealong,it’sgoodtobeabletohangwiththeminafairlyneutralenvironment.It’snicetoplaymusicforpeopleinaninterestingoldbuilding-itfeelslikeinthiskindofenvironmentexcitingandsurprisingthingsmighthappen.Don’tgetmewrong–Istilllikedoingnormalgigs,butdoingitthisotherwayoftenfeelsmorestraightforwardandeffectiveinpresentingthesongstoallsortsofdifferentpeople.
“ThisyearI’vestartedtaketheseshowsoutofthemetroarea,hiringhallsininterestingtownsandlocalitiesoutsidePerth.I’vebeenenjoyingtheprocessofcorrespondingwiththelocalnewspapersandradiostationsinadvance,andmeetinglotsofnewpeoplealongtheway.I’vegotafewoftheseshowsbookedthisyear,withtheband,onmyown,andwithabunchofothercollaborators.Ofcourseonceyou’vemadetheefforttogotosomesmalllocalityandputonashow,andafewpeoplehavecomealongandlikedit,thebestthingyoucandoistogobacktheresixmonthslater,soyougraduallydevelopsomethingrealwiththepeoplethere.Ifindallthisexcitingandsatisfying,andIwanttodomoreofitastimegoeson.”
Benedict Moleta’s Timesheet is available now through iTunes.
songstendtohaveawalky-talkykindofvibe.”Beyondtheseinterestinglinkages,theinfluenceofclassicalperformance
hasclearlyinfluencedthewayinwhichhechoosestoperformlive.“Therewasalotofclassicalmusicinmyupbringing,andI’veworkedina
classicalCDshopsince2003.Ofcoursethesethingshavesomekindoflong-termeffect,butIdon’tlistentomuchclassicalmusicathome,anddon'treallygotoconcerts.Idoorganiseshowsoutsidethepubscene,whichhavemoreofaconcertvibethanagigvibe.Alotofmymusicisprettyquiet,andsuitsalow-noiseenvironment.SoI’vebeenputtingonshowsintownhalls,yachtclubs,artgalleriesandthatsortofthingsincemyfirstalbumlaunchin2005.Iguessyoucouldsaythisstyleofshowowesalottogrowinguparoundseated,silentlisteningenvironments.I’mnotintocultivatinganatmosphereofphonyreverencearoundthemusic,butit’salotoffunputtingonashowinayachtclubbytheriver.Theenvironmentisbeautiful,youcanstartearlysothatpeopleofallagescancomealong,theacousticsoftheroomarenaturallygood,sosettingupthePAiseasy,etcetc.Likewiseit’sfuntohireahallinacountrytownanddrivingouttherewiththeband,havinganadventure,meetingnewpeopleoutthere–allsortsofdifferentpeople,andnotjusttheoneswhowouldnormallygotoshowsinestablishedcityvenues.
“Italsomeansthenightcanstartat7:30pminsteadof9or10.Soby9or9:30themusicisover,andthere’sanopportunitytohangouttogetherproperly-notbeinghustledoutthedoorbysecurity,notdealingwithpubcarparksatmidnightetcetcetc.TheshowsareBYO,sothere’snoboozemoneyfactor–peoplejustbringeskiesandsnacks.Theretendstobeamoresocial,easyvibe.Itseemstoopentheshowstoalotofdifferentpeoplewho,forwhateverreason,aren’treallykeenongoingtopubshows.
HavingattendedanumberoftheseIcanattesttothededicationandcommitmentthatgoesintotheirstaging,andit’safarbetterenvironmentforseeingmusic,suchasBenedict’s,concernedwithdetailedsoundandlyriccontent.ButPerth’spubsceneremainsvitalforemergingandestablishedbandstoperform-howisthemusicsceneinPerthtoday?Andwhatofthefutureforstandardpubrockshows,andthetypesofeventsMoletaliketo
“It’s nice to play music for people in an interesting old building - it feels like in this kind of environment exciting and surprising things might happen.”
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Craig[Tattersall]wouldtalkaboutstartinguptheMoteerlabel.Idon’tthinktheyhadanyconcreteplans,butmeandJohnnythought‘whydon’twegetsomethingtogetherandgivethemtoAndrew’,whichwedidoveracoupleofmonths.Theylikedit,anditbecamethefirstreleaseonMoteer.Itwasa12-inch.Alittle-heardEP.ThentherewastheManyFingersreleasewhichwasthefirstproperrelease,Ithinkwewerejustabitofatest.”
“Wewerebothreallyexcitedaboutit,”hecontinues.“Johnny’sanintenselittleguy.ItcameoutjustafterImovedtoAustraliawithinthefirstcoupleofmonthsofmebeinghere.Ireceivedsecond-handstoriesthatinafitofpeakandartisticanguishoverthisreleaseheactuallywentintothedistributorsandaskedforalltheremainingcopiessohecouldburnthem.Idon’tknowwhy.He’sjustabitofalunatic.”
ThesedaysMcCaffreyisalittlecircumspectaboutClickits,suggestingthatitwearsitsMorrMusic/CityCentreOfficesinfluencesonitssleeve.In2005theywouldreleaseExpress Gifts,afull-lengthalbumdespiteMcCaffrey’srelocationtoAustralia,witheachoftheduocreatingfivetracksseparately.ItwasduringthistimethattheseedsofPartTimerwereplanted;inspiredtosomeextentbythemusicalcultureshockthatwasMelbourne.
“Itwashugelydifferent,”hereflects.“Whenwe
”Iseemtoreleasealotofstuffearlyoninlabelcatalogues,”hereflects,“it’slike‘ohweneedsomeartists,’it’stheonlywaytheyacceptme.I’makick-startalabelkindofartist.”
AsforBlue,McCaffreyhassomereservations.“It’saweirdoneforme,”heoffers,“there’slotsofbitsandpieceschuckedtogether.Idon’tthinkit’sascoherentasReal To Reel.”Butyoucan’tlistentoMcCaffrey;Boomkatdescribeditas“treadingthatfinelinebetweenlonesomeacousticcompositionanddelicateelectronictampering,”whilsttheSilentBalletcalledit“abuffetoftracksthatareasconfidentastheyarefragile,callinguponfolkandelectronicexperimentaliststocreatesomethingintimateandsincere.”
Yetit’shismostrecentwork,againwithanewlabel,thistimeUSA’sLostTribeSound,whichMcCaffreyviewsashismostaccomplished.“RealtoReelisthesoundIenvisagedforPartTimer,”heexplains.“Ittookshapeoverafewyears.Icompileditdownfrommyfavouritetracksoverthelastfewyears.I’mthehappiestwiththatone.Ithinkithangswelltogether.”It’salushalbum,withgentleacousticguitarlinesandthoseeverpresentPartTimerdustysoundscapesoverwhichNicolaHodgkinson(TheEmpress/Hood)andhiswifeDaniellesing.Infactit’sanalbumthatfeaturesmorevocalsthanever.
artTimeristheself-deprecatingnomdeplumeforJohnMcCaffrey,aNorthernEnglandernowresidinginMelbourne,Australia.Tosomeextentit’sanaccuratename,hismusicaltimelimitedasafatheroftwoandoccupationaltherapistwhoworkswithpeoplewithbraininjuries.“There’snothinglikepeoplewithdamagedfrontallobestomakeinteractionsinteresting,”heoffers.“Yougetsuchgreatexperiencesthatyoujustcan’treplicateinanyothersetting.”YetMcCaffreyviewshisotherlife-hismusic-asareaction,anescapefromhisdailylife.“It’sawaytoloseyourselffromallthatshittobehonest,”McCaffreylaughs.“Iguessmakingmusicisalotscarcerinmylife,alotmoreofarareactivitythesedays.WhenIgettheopportunitytodoitit’sabitmorevaluedbecauseofthat.”
Givenhisremarkablyprolificoutputitmaycomeassomesurprisethatthesedaysit’saboutputtingthekidstobedandgrabbingeveryopportunitytoretreattothe‘mancave.’“I’mnotawoodworker,Idon’tdoanyofthosekindsofthings.It’smylittleseal-off,togetinthereandgetinmyownhead.Getintothemusicwork.”Whenhedoesstraphimselfintothecavehissoundsdon’tbetrayanyofthestressorsofhisotherlife.Whatinevitablycomesoutispure,gentleandhighlybalanced.There’sastillnesstothemusic
firstgothereIwasquiteblownaway,especiallyinMelbournebytheindietwee,rocky,veryguitar-basedkindofmusic.InthosedaysIwasveryelectronicallyinclinedinmylistening.AndIfounditquitestrangetocomesomewherethatitwasararitytogetanelectronicgig,andexceptionallyrareforaninternationalelectronicact,especiallyoneoftheobscureones.Ithinkinsomeways,movingherekindofinfluencedthemusicIwasmakingbecauseoftheguitarinfluencethatwashappeninghere.Iwasstillverymuchinanelectronicheadspaceinthefirstcoupleofyearsofbeinghere.InthattimewemadetheClickitsalbumthenslowlybutsurelygotintotheguitar.”
ButMcCaffreyisn’tyourtypicalguitarist.He’smuchmoreinterestedinmoodandtexturethantechnique.Infact,truetoformhemayalsobethemostself-deprecatingguitaristyou’llevercomeacross.“IthinkI’veprobablyalwaysharbouredasecretdesiretobeanaxemaster,androckitoutYngwieMalmsteenstyle,”helaughsbeforecontinuingmoreseriously.“Ithinkthere’sacertainmoodtotheacousticguitar,there’sacertainfeeltothosekindsofsounds.IthinkaftersubjectingmyselftoalotofelectronicmusicforagoodnumberofyearsIstartedtowanttoreturntosomemorenaturalsoundsandincorporatethatwiththemoreelectronicsounds.”Hisplayingis
ofPartTimer,compositionscraftedviaaseriesofoften-tentativegesturesthatallconspiretogethertoresonatewithmelancholiaandemotion.
“Ithinkthatcomesfromthewayit’smadetobehonest,”McCaffreysuggests.“It’sjustasedentaryparalysis,justsittinginfrontofthecomputer.Idon’treallyunderstandhowpeoplecanmakeupbeatelectronicstuffthat’spoundingclubfriendlywhenyou’reessentiallyinyourspareroomtappingawayonyourkeyboard.Itmakesalotmoresenseformetomakesomethingalotmoresedate.”
McCaffreybeganmakingmusicintheUKaspartoftheduoClickitswhohadthehonourofhavingtheirdebutEPreleasedasthefirstinthecatalogueoftheinfluential(thoughnow-defunct)UKlabelMoteer.UltimatelyMcCaffreybelievesthatitwasallaboutgeography.GrowingupinAccrington“averysmallvillagepartofasmallnortherntown,therewasn’tawholelotgoingonthere,”heoffers,“soevenifyou’reremotelylike-mindedyougravitatetowardsoneanother.”TheonepersonhegravitatedtowasJohnnyRussell,withasharedloveofthefracturedelectronicareleasedontheWarplabel.“AndrewJohnstonlivedveryclosetoJohnnyandAndrewJohnstonistheRemoteViewer.Wewoulddrinkatthesamepubandwewouldchatwithhim.Andheand
oftenquiterepetitive,subtle,restrained,simplelines,freefromanyexcessiveflourishes.
“That’sbecauseI’mnotverygoodatit,”helaughs.“Icouldnotplayyouatunefromstarttofinish.Evenifitwasthesameriffoverandover.I’mawful.Myprocessistorecordquiteabitandthenstitchittogetheronthecomputer.There’snowayIcouldplayacoherenttuneforanyone.Evenafterseveralyearsofmakingguitar-basedmusic.”
It’sthiscombinationofbrutalhonestyandself-deprecationthatmakesaconversationwithMcCaffreysorefreshing.“I’mhappytotellpeoplethat,”hereveals.“IthinkthatwhathappenswiththePartTimermusicisthatsecretlyit’selectronicmusic.Iknowithasanacousticfeeltoit,butit’sallstitchedtogetherandmodifiedonthecomputer,that’swhereIdomyworkonit.”
“That’sthebeautifulthingaboutworkingwithcomputersisn’tit?”Hecontinues.“Itgivesyoutheopportunityifyou’repreparedtospendthetimetoputanythingtogether.Icertainlywouldn’tbeabletomakemusicwithoutthecomputer;it’satoolanorganiser,andacontributingfactor.IconsiderthestuffImaketobecomputermusic.”
PartTimer’sfirstLPappearedonMoteerin2006;continuinghisridiculouslyprolificreputationhissecondalbumBlueappearedjustayearlaterasJapaneselabelFlau’ssecondeverrelease.
In reel Time
Part TimerLocal
byBobBakerFish
“There’s nothing like people with damaged frontal lobes to make interactions interesting”P
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afewremixesasUpwardArrowstoo,asIquiteliketheprocessofstretchingsoundsandstickingbigreverbywashesovereverything.”Speakingofremixeshe’screatedsomethingofanicheforhimselfasaremixerofchoiceforyourdreamypastoralindiefolkmusic,everyonefromThe
DecliningWintertoTokyoBloodworm,ChildrenoftheWave,Underlapper,evenUScellistAaronMartin,whoseremixturnedintoanongoingcollaboration.
“ThetworeleaseswithAaronMartinareessentiallyremixesthatgotoutofhand,”hereveals.“OnbothoccasionsAaronsentmestemsforanumberofhistrackstoseeifIwantedtoremixone.ThenIjustgotbusyandremixedeverythinghesent.”Thefirstreleasewasalimiteddouble3-inchCDonMobeercalledSeed Collection.OnedisccontainedMartin’soriginals,theotherMcCaffrey’sremixes.ThesecondreleasewasonUndertheSpire.
“AaronhadreleasedanEPcalledGrass Wounds -thenhesentmethestems.IremixedthemandthelabelreleasedtheremixEPasGrass Rewound(myterriblepunofatitle).”
Sowhyallthesedifferentguises?“It’swhenIdon’twanttoknockoutanother
‘folktroniclaybackandcrytoyourselfthing,’”helaughs.“That’swhenthingsdon’tfitintothatPartTimersoundIguesssoIstickitunderdifferentartistnames,”hepausesforasecondseemingtoreflectonthisbeforeadding,“mybreakcorestuffisverylittleknownbuttrustmeit’sgroundbreaking.”
Part Timer’s Real to Reel is released through Lost Tribe Sound. CD
“I’dlovetoworkwithvocalistsalittlemorewhenIgetsometimeandjustdoentirelyasong-basedkindofalbum.I’vealwayslikedmusicwithvocalists.Idon’tnecessarilytrustmyselfalottocommitmyownvocalsallthatfrequentlytorecord.”
PartTimerisn’tMcCaffrey’sonlynomdeplume.HecanalsobefoundasUpwardsArrowsandScissorsandSellotape.InfacthehasanimminentreleaseforScissorandSellotapeontheFrac-turelabel.Itbeganasarequestfromfrequentcollaborator,Melbournemulti-instrumentalistHeidiElva,torecordherplayingpianoinachurch.“Heidihadbefriendedthevicar.Hispianowasoutoftune,shegothimapianotunerandsheaskedifshecouldcomeandrecordsomepiano,hesaidyeahsowewentinthere,satthereforthreehoursandplayed,recordedsomebitsandpiecesfromaroundtheplace,anditwasahugesamplelibraryfromonethreehoursitting,anditformsthebasisforallthetracks.”
“Okay.I’manabsoluteasshole,”offersMcCaffreyelectingtocomeclean.“TheideawastogointhereandrecordHeidiplayingsomefairlystraightsimplepianomelodiesandthenafterwardsI’dgoinandaddabitofambiencetothemandeditoutsomeduffnotesandaddalittlebitofpixiedust.”Butitdidn’tgoentirelyaccordingtoplan.
“IgottherecordingshomeandIjustcouldn’thelpmyself,justchoppingitstretchingit,totallyre-arrangingphrases,”helaughs.WithinthespaceoftwodaysIhadthreetracks.SoIsentthemtoHeidiandshewaslike‘Nothat’snotwhatIwantedatall.’”
“Shewasallabouttheambienceofthechurch,
recordingitreallyquitesimplyandhavingthefeelofthetracks,andIjusttotallyobliteratedthatandmadePartTimerwithpiano.IthinkIhitacreativedownatthattimeanditwasarealburstofinspirationtomakemusicagainIguess.Shedidn’twanttostandinthewaysomorepower
toher,butsheneverdidgethercleanrecordings.”ScissorsandSellotapebeganonCraigfrom
Moteer’scraftlabelCottonGoods,asalimitededitionof100EPsmadeoutofhardbackbooksandothercuriousmaterialswitharealhandmadeaesthetic.“ItwasabunchoffieldrecordingstakenonhoneymoonandIjustchoppedlittleloopsoutofitandstuckitalltogether.Itwasn’tacomposedprocessIsuppose.Ididn’tplayaguitarlineseventeentimesandchoosethebestone.Ijustgotthefieldrecordingsandchoppedthoseintoloopsandstuckthemtogetherindifferentways.”
Yetthisisn’ttheendofhismusicalpersonalities,itseemsthemoreyouscratchthesurfacewithMcCaffreythemoreprojectsappear.Whenheiscontactedacoupleofdaysafterourinitialdiscussionhejokesthat’swhytheycallhimtheonion.“NotbecauseIhavesomanylayers,butbecauseIsmellandmakepeoplecry.”
UpwardArrowsislessmelodicandmoredrone-based,apseudo-classicalandexperimentalsidetohispersonality.It’ssomethingthathehashintedatmorerecentlyinhisPartTimerguise,yetit’sfullyexploredunderhisothermoniker.TheprojectemergedafterbeingofferedareleasefromtheUndertheSpirelabel,whichatthetimewasmoredronefocused.
“I'dbeenlisteningtoalotofmodernclassical/droneystuff,”heoffersandIfanciedgivingitago,somadethosetracks.SincethatI'vedone
“When we first got here I was quite blown away, especially in Melbourne by the indie twee, rocky,
very guitar-based kind of music”
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inceitsfirstreleasein2008,theHomeNormallabelandstablematesTokyoDroningandNomadicKidsRepublichavekeptupanimpressivescheduleofreleases.Theirback-cataloguescontainworksofcinematicelectronica,looselyminimalorganicfolkandstunningdrones,allwithadistinctpurityofspiritbothmusicallyandinthehandmadeprinciplesappliedtodesignandpackaging.Labelboss,curatorandcreativeenginebehindtheHomeNormalstable,IanHawgoodhasconsistently
assessed,adjustedandreinventedthewheelinhisowncreativeoutputincludingthatunderthemonikersApocomeno,KoenPark,OhNoNuno!andthatofhislabelsinordertobringtogetherhisvisionofmusicandimage,grounded,normalisedandintegratedasawhole.IanandIcaughtuponlinetotalkaboutthelabels,creativecontrol,hisbusyscheduleandpost-quakeJapan.Althoughwe’venevermetinperson,inhisresponsestomyquestionsHawgoodisreflexiveandhasadeepsenseofrespectforhiscraft.Thissubtletyandhonestyisconsistentbetweenhismusic,labeloutputandouremails.Hawgoodtellsmethathisinspirationhasalwayscomefromthecloseinteractionwithfriendsandmusicianswhomherespectspersonally.HawgoodisbasedinSaitama(acoupleofhoursfromTokyo)andmaintainsdailycontactwithBenJonesintheUKwhohandlestheprintinganddistribution.HealsoservesasIan’ssoundingboardforcreativedecisionsrelatingtothelabel.HawgoodalsoworkscloselywithwebdesignerChristianRothandAntony
S
To Build
a HomeHome Normal label retrospective
InternationalbySuneelJethani
“Music is essentially built upon primitive memory structures” - Morton Feldman
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Harrison(aka.Konntinent),whoworksonthelabel’sliveevents.IaskaboutHomeNormal’steamdynamicandrecentexpansionandinparticulartheissueofmaintainingcreativecontrol.“YesIcontroltheevolutionofthelabelandI’mnotsurehowIshouldrelinquishcontrol,”Hawgoodsays.“IwishIcouldbutoftenittakestheobsessivebehaviourofonetorunthesethingsinapureway.SayingthatIhaveactuallyrelinquishedcontroltodemandingartistsandit’snotsomethingIhavecometobeparticularlyhappywith,socallmeacontrolfreak,butit’squitetheopposite.Iamintheprocessofregainingthespiritofthelabelback.”Thatspiritrelatestoprinciplesthatarebothvisualandaural,andHawgoodstronglydifferentiatesbetweenHomeNormal,TokyoDroningandNomadicKidsRepublic.ForHomeNormalhesaysthat“theonlythemeIreallyhadwastopresentworkinaverysimpledesign,withthefocusbeingonphotography.Thiscameaboutthroughaccesstomyverygoodfriend,JeremyBible’swork,aswellasgoingthroughimagesIhadtakenovertheyears.Theseweretobe
thefacesoftheworkIfeltwasheartfeltandpersonalastoooftentheartandmusicareverydisparate”.AlthoughIlearnthatmaintainingpurityinaestheticprincipleshasbeenoneofthechallengingaspectsofrunningthelabel“...artistssometimesarefartoorigidinthepresentationoftheirworkinmyopinion.Thishasaffectedtheoverallartofthelabelintermsofhowitappearsasacompleteseries,orwholerather.Musicallyhowever,Ihavekepttotheidealsbycrossingstylesandforms,focusingonmusicwhichIthinkhasauniquevoiceandgenuinespirit,andhaveneveracceptedapositionwithin‘thescene’whenitmayhavebeeneasiertodoso.”“Presentationisfarmoreimportanttomenowthanbefore,whenIhadmuchmoreofapurebeliefthatthemusicwasallthatmattered.It’showIfeelandhavealwaysfeltbutsadly,mostartistsarenotofthesamemindset.Theartistswhoareofthesamemindsetareclosefriendsofmine,andoftenpeoplewhohavebeenaroundtheblockafewtimesbefore.SopersonaltastehasbecomemoreenvelopingIsuppose,notonlytobetasteinthemusicbutinthepersonpresentingthework.WhenBenandItalkedaboutthescheduleforHomeNormalwesaidwewouldpairupone‘larger’releasewithalesser-knownartist’swork.Bythismeanswefeltthatitwouldgiveattentionandhelpsupportneworemergingartists.However,astimehasgoneon,IhavegottenalittlewearyofworkingwithpeopleIdon’tknowonapersonallevelforavarietyofimportantreasons.Assuchnow,the‘whole’ofeachreleaseisimportant–forexample,theworkitself,theartist’spersonalityandintentionsorattitude,their
approachtothe‘industry’sideofthingsandabunchofotherstuff.”TheTokyoDroningimprintbeganasasisterprojecttoHomeNormalthatendedupbecomingquitedistinct.Eachreleaseconsistsofaseriesofsixworks,thenextduesometimebetweenAugustandSeptember2011.Hawgoodsaysit’sfocusedonhisown‘geekiness’andhisrulesforgoverningitarethatthebasematerialsmustbebroughtfromwithinatenminutecyclerideofanywherehehaslivedinJapan.Eachreleaseishandmadeusingoldhardbackbookswhereeverypartoftheoriginalbookisrecycled,spinesarereconstructedusinglocallysourcedmaterialsandtheinsertsaremadeofricepaperfromashopinhisoldneighbourhood.Eachreleasehasadifferentstampandphoto/negative/Polaroid/Kodachromethatisnotcopiedandthustotallyunique,andpackagingispureorigami,whichmeansnoglueortapeisused-onlyfolding.NomadicKidsRepubliccoverssomeoftheusualHomeNormalgroundbutismoreopentoelectronicworks.Thereleasesfocusonover-exposedor
verypurelylitimages.Hawgoodtellsme“theaimbeingtopresenttheoverallseriesasacollectionofwildPolaroidstyleshots.Inparticularthephotographyisfocusedonquitestarkimagesinways,verysimplebutwhichsayfarmoreunderthesurface,as[is]theJapanesewayIguess.It’sanaestheticthatfailedinthreeorfourofthereleasesduetomyownweaknessinnotbeingstubbornenoughwithcertainartists,andoneIhaveremedied(baronerelease)onNomadicKidsRepublic.MinimalismisverymuchaJapaneseaesthetic,butsoisavibrancyandrangeofcultureitabsorbsintoitselfwhilstkeepingitsidentity.Ithinkmusicallywehavethelatterandindesigntheformer.”Almostcompulsivelycreative,HawgoodworkshardrunningHomeNormal,holdingdownadayjobasahighschoolteacheranddoingstudioworkwhenhecan.Thisallowshimtofundthelabelsandhe’sthankfultohavedevelopedenoughskillsandconnectionstoalwayshaveoptionstoworkbothprofessionallyandcreatively.Hetellsmethatatypicaldaylookssomethinglike:“Getupabitbefore5am,leaveforworkat5:40am.Catch6:03amtrain,takeoutiPadorlaptop,catchuponemail,workonsomedesignorgothroughpreviousdays’photographyandwork,orlistenandmakeheadphonenotesonamasteringjobormusic.Gettowork(school)about8amandteachuntil3pmdependingontheday.Leaveschoolandtake2-hourcommutehome,againrespondingtotheday’semailsandalloftheabove.MywifeandIwillwalkourdogforabout30minutestoanhourbetween5pmand6pm,afterwhichwewillcookupdinner.AfterdinnerIwilleithergetshopordersready,
“Call me a control freak, but … I am in the process of regaining the spirit of the
label back”
whichwillnevergetmade”andpressedhimfurtheronhowimagesandtheimaginaryfeatureinhisworkandifhehasanyaspirationstosoundtrackafilm.“IhaveverystrongimpressionswhileIammakingmymusic,sometimesbefore,andthesedictatethedirectionIgoin.‘Wolfskin’forexample,wasbasedonaseriesofdreamsIhadwhichIwroteaboutandthenworkedonthemusicthefollowingday.‘SnowRoads’wasaboutaconstantimageIhadofamanwalkingdownaroad,everythingdeadinwinteraroundhim,grippedbyisolation,butintensedeterminationtokeepdownthatpath.Intermsofother[people’s]work,it’sverymuchthesametoo.Forexample,assoonasIlistenedtobvdub’sreleaseTribes at the Temple of Silence,IinstantlyhadavisionofthiskindoflostworldandproceededtogothroughphotographyIhaddoneonZamamiIsland,quiteadesertedplaceacoupleofhoursbyboatfromOkinawa,duringatyphoon.ItwasexactlywhereBrock’sheadwasforthereleaseandvisuallythiswasverysignificantofcourse.I’vewrittenthesoundtrackstoacoupleofshortfilmsalready,aswellasmakingmusicforsomeprettybigTVadvertisements,exhibitionpiecesandwebsites,sothisisnotnewtomereally.However,mydreamsinceIwasatuniversitywastowritethemusicforsomecrazyHongKongmartialartsfilms.Thathaschangedofcourse,butyes,ideallyIwouldlovetojustmakemusicforfilm,anditsstilladreamIholdonto.Ifagreatdirectorcamealongandaskedmetosoundtracktheirfilm,thatwouldbeallmydreamsrealisedandIwouldhavetogoaboutmakingnewdreamsandambitions.It’snotabadplacetobe”.Andforthefuture?“IwantHomeNormaltoregainitsidentityandpurityfully,butthistakestime.Havethepromotionalmachinebecomeself-awareandallowmetobeexemptfromevenhavingtothinkaboutitforasecond.Tobeallowedtotakemytimewitheachreleasewithoutconstantpressure,andforartiststoreallyunderstandtheyarepartofsomethingcollaborativeandwearenotjustamoneytree/workhorseforthemalone.ThelatteriseasyandintheprocessasIcutthingsuptoworkwithpeopleIknowmore.Thesecondisimpossiblerightnowandthefirst,well,itwillovertimeinrelationtothelatterandperhapsifthesecondcametruethenmyattentiontotheformerwouldbeclearer.”ThelastofouremailexchangesfindsHawgoodabouttojetofftoBaliforadelayedhoneymoonplussneakinginaweekofgamelanlessons-theresultsofwhichI’mlookingforwardtohearingonaforthcomingrelease. CD
domasteringwork,workonmusic,dolabel,design,orexhibitionworkuntilabout2am,sometimes1amattheearliestor3amatthelatestandthengotobed.That’satypicalweekday,andweekendsarereplacedwithabitmoredowntimeorstudiobasedworkratherthangoingtoschool.”TheHomeNormalHQwasbadlydamagedintherecentquakedisasterandonreflectionHawgoodsays:“wewereoutluckilyandourhousewasprettybadlytrashedaswehadjustmoved.Thingshadn’tbeenplacedproperlyandthatweekIhadorderedabunchofgearaftersavingupforawhileanditwaspoorlypositioned.Mystudiowastrashed;drives,computers,outboardgear,instruments,andourloungewasbadlyhit.Thankfullywefoundourpets,scaredbeyondbelief,surroundedbyshelves,CDs,glassetc,butaliveandsafe.Onapersonallevelit’sbeenhard.I'lljustsaythatinsurancecompaniesonthewholeseemtolackanymoralsandleaveitlooselyatthat,butneedlesstosaywehavebeenhitbadlybyit.NonethelessweweresoluckyandIamluckyinthatIhavebeenabletotakeonboardextrastudio-basedworktosupportthelabelsandourselves.OurcommunityisdoingOKbutweliveinanagriculturalarea,lotsofoldstylehouseswheremanyoftheroofsweredamagedandtherepairsaretakingalongtime.Ithinkpeopleneedtobefarmoreawareofhelpingindirectways,smallwaysthatshowtheytrulycare.ThishealsthespiritandIknowtherearemanydoingthat.ThehealingofthespiritreallyiskeywhichissomethingIhadnevertrulyunderstoodonacommunallevelbeforethisallhappened.”AsachildHawgoodsufferedsevereboutsofhearinglosscausedbyrecurrentearinfectionswhichweren’tfullytreateduntilhewastenyearsold.Itisperhapsfromtheseexperiencesoflongperiodsofsilenceandassociationsofsound-memorytomotionandvisualcuesthathasallowedHawgoodtonurturethestrongvisualaspecttohiscreativeprocess.“Itmaywellbeaninfluencingfactor,”hesaysasifmysuggestionhassurprisedhim.“YoumightbeinterestedtoknowthatBenJones(whorunsHomeNormalwithme)continuestohavequiteseverehearingissuesnow...hencehecanonlylistentoverylowvolumeambientmusicandit’soneofthereasonswhywestartedmakingminimalmusicwithouthavinganypointofreferencetogetheratuniversity.”Continuingwiththevisualstheme,I’dreadaninterviewwithHawgoodwherehe’dbeenquotedassayinghisworkislikea“soundtracktoafilminmyhead
“If a great director came along and asked me to soundtrack their film, that would
be all my dreams realised”
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hilethey'reeasily
oneoftheflagshipactstoemergefromtheWarpRecordsrosteroverthelasttwodecades,London-basedelectronicduoPlaidhaveeschewedthehigh-profilemaverickstatusoflabel-matesSquarepusherandAphexTwin(noMTV-poisedChrisCunninghammusicvideosforthem)infavourofspendingthelasttwentyyearsamassingasolidbodyofwork.Despitethiscomparativelylowerprofile,sincetheirsplitfromtheirformerincarnationTheBlackDogalongsideKeithDownieintheearly1990s,they'vehadtheirshareofflirtationswiththemainstreamintheinterveningyears,remixingtracksfromBjörk's1995albumPost,aswellasjoiningtheliveline-upforhersubsequentworldtour.Despitethisaforementionedventure,Plaid(realnamesAndrewTurnerandEdHandley)haveneverquitemanagedtomountasoloAustraliantourunder
theirownname,asituationthat'sabouttochangewiththeirliveappearanceattheSydneyOperaHouseaspartofthisyear'sGraphicFestival.InthiscasetheoccasioninvolvesthemperformingtheirscorelivetoTekkonkinkreet,theacclaimed2006animemoviedirectedbyMichaelArias(thefirstUSdirectortoheadupJapaneseanimeproductionsandacclaimedanimationhouseStudio4°C),itselfbasedontheseminal'Black&White'mangabyTaiyoMatsumoto.Infact,Australianaudiencesareinforsomethingofanexclusivetreat,asthismarksthefirstandsofaronlytimePlaidhaverecreatedtheirfilmscorelive,withtheaddedinstrumentalinputoflocaloutfitsFourPlayandSynergy.
WhenIcallEdHandleyathisLondonhomeit's9AMlocaltimeandhe'sjustgottenup,apologisinginadvanceifhecomesacrossasslightly'boring'duetohislackofsleep.Hespenttheentirenightinthestudio.“Actually,you'reveryprecise–Icanhearthebellringingoutside,”heopens,beforegoingontoexplainthathe'sprobablygoingtogostraightbacktobedfollowingourinterview.HavingestablishedthatIhaven'twokenhimupwithmyphonecall,oneof
thefirstthingsI'mkeentofindoutaboutiswhatinitiallydrewbothhimandAndytoworkingontheTekkonkinkreetscore,andwhetherthey'dbeenparticularlyinterestedintheanimegenrepriortotheproject.
“Wecertainlyweren'tspecialists,andanimeisafairlyspecialistthing,”Edreplies.“Forus,thefirstlovewasreallyalwaysmusic,andsoweneverreallyhadtimetoexploreitproperly.We'dseenwell-knownfilmslikeAkiraandGhost In The Shell,andafewothersthroughfriendswhowereintoit.”Asitturnsout,theseedsthatledtotheircollaborationwithMichaelAriasonTekkonkinkreetweretheresultofapurelychanceevent,ratherthananyrealconsciousdesign.“WeplayedagiginTokyo;Ithinkitmighthavebeenthelate1990sorearly2000sandMichaelAriaswasattheshow,”explainsEd.“IthinkhewasworkinghiswayuptodirectingfilmsatthetimeandgraphicsforanimeinJapan.AfewyearslaterwhenhewasdoingTekkonkinkreetherememberedusandgotintouch.Itwassomethingthatallresultedfromacompletelyrandomevent.”
Thatinitialcreativecontacthasgoneontoforgeanongoingcollaborativerelationship,with
Plaid International
byChrisDownton
W
drawn to Life
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“We've always been between the two worlds; dance music and non-dance music”
PlaidfollowingtheirworkonTekkonkinkreetwithasecondscoreforArias'2009filmHeaven's DoorandasoundtracktohissurrealshortfilmHope,whichapparentlycentresaroundastrugglinganimatorstuckinanelevatorovernight.WhenImentionthisworkthough,Edpreferstoavoidcomparisonswiththeduo'sTekkonkinkreetscore.“It'shardtorelatethesoundtrackwedidforHeaven's DoortotheonethatwedidforTekkonkinkreetbecauseHeaven's DoorwasreallyaimedalotmoretowardsaJapaneseaudience,”heoffers.“It'shardtoreallycomparethetwo.”
Onethingthat'salwaysstruckmeisjusthowwelltherhythmicflowofboththeimageryandthesoundtracksyncsupthroughoutTekkonkinkreet.AsEdexplainshowever,theduodidn'texactlyhavetheluxuryofbeingabletocomposetheiraccompanyingscoretofinishedvisuals,having
tomakedoinsteadwiththecreativeinspirationdrawnfrominitialconceptart.“Wewerebroughtintotheprojectataveryearlystage,”explainsEd.“Weworkedtostoryboardsandanimatics,aswellasshortclipsandstills.Wereadtheoriginal(manga)books;luckilythereweretranslatedversions,”helaughs.“OnethingthatreallyhelpedwasthatMichaeldidallofhisbackgroundsfirst;thereallydetailedbackgroundart.Thisreallyestablishedtheatmosphereandemotionaltoneofthefilm,evenifwedidn'tcompletelyunderstandwherethescenewouldeventuallybeplacedinthefilm,oritscontext.Wewerealsoabletoseethemaincharacterdesignsandtheirposes,whichreallyhelpedestablishwhatthemoviewasabout.”
Whilethere'salwaysbeenahighlycinematicqualitytoPlaid'smusic,themarriageoftheircompositionstovisualsfirstemergedwiththeir2006Greedy BabycollaborativeCD/DVDsetwithfilmmakerBobJaroc,somethingthatinretrospectstruckmeasaninitialsteptowardsworkingwiththemovingimage.Wasworkingon
cinematicscoressomethingthattheywerealwaysconsciouslymovingtowards?“Greedy Babygotususedtodoingmusictopictures,aswellasthedegreeofcontrastyouneedtohavebetweenthetwo,”repliesEd.“Especiallywiththeemotionalparts;ifyoudon'tgetthatcontrast,itjustgetsverypredictable.”WhenIsuggestthatworkinginafilmsoundtrackrealminmanysensesmustfreethemupfromthesortsofbpm-basedconstraintsinherentindancefloortracks,he'sinclinedtoagree.“We'vealwaysbeenbetweenthetwoworlds;dancemusicandnon-dancemusic.It'sdifficulttoDJourtrackstoo.They'remixeddifferentlyandinsomecasesperhapsthere'sabittoomuchgoingon,”helaughs.“Youdostillhearafewtracksoutthough,hereandthere.”
WiththeknowledgethatPlaidrecentlyemployedtheservicesofagamelanpercussion
groupforliveshowsintheUK,I'mkeentofindoutwhatsortsofthingstheyhaveplannedfortheirupcomingliveTekkonkinkreetscoreperformanceattheSydneyOperaHouse.Havetheyeverdonethissortofliveperformancebefore?“Thisisthefirsttimewe'veeverdonealivescoretoafilm,”Edexplains.“WedidanartthinginFranceafewyearsbackwithBunuelfilmsshowing,whichisprobablytheclosestwe'vecome(priortothis).PerforminglivetoTekkonkinkreetalsogivesusanopportunityto'touchup'bitsofthescore.We'llbeperforminglivewithFourPlayandapercussiongroupcalledSynergy;sofartheguywho'sdoingthearrangementshassentsomestuffbackandforthwhichwe'veseen.”
DespitebeingafanofPlaid'sworkdatingbacktotheirdaysaspartofTheBlackDog,Ican'trecallthemevervisitingAustraliabefore,apartfromsomeinitialtourrumoursaroundthetimeoftheir2003albumSpokes.“We'venevertouredAustraliaasPlaidbefore,”confirmsEd,“althoughAndycameandDJedinMelbournewithMark
Plaid - Double Figure (Warp, 2001)
TheirthirdalbumforWarp,andalsoperhapsoneofthemostconsistentfan-favouritestobefoundamongstPlaid'sdiscography.WhileDouble Figureshowcasedsomeoftheduo'smostambitiousworktodate,it'salsonotableforitsdeftbalanceofmoreenergeticdancerhythmswithintricatelydelicateheadphonelandscapes.Indeed,thebreadthofemotionalterritorycoveredbetween'Eyen'sfeatheryacousticguitarplucksand'Squance'sacid-technoflexremainsnothingshortofastonishing.
Plaid – Plaid Remixes (Parts In The Post) (Peacefrog, 2003)
GiventhatafairchunkofPlaid'sremixdiscographyisdeletedordifficulttofind,thisextensivetwoCDsetrepresentstheidealplacetostartforthosenotluckyenoughtoowntheoriginalvinyl.Thiscollectionalsomanagestohighlightthesheerstylisticdiversityoftheartistswho'verequestedtheduo'sremixskills,rangingfromGrandmasterFlash&TheFuriousFiveandearlyPlaidassociateNicolettethroughtothelikesofBjörk,UNKLEandGoldfrapp.Whileit'simpossibletotakeintheduo'sentireremixbackcatalogueoverjusttwo(admittedlypacked)discs,thissetdoesaprettygoodjobofdocumentingsomeoftheirbiggesthighlights.
Plaid/Bob Jaroc – Greedy Baby (Warp, 2006)
OntheheelsoftheirlivecollaborationswithvideoartistBobJaroc,thisCD/DVDsetsawPlaid'sninetracksbeingdesignedtoworkalongsideaccompanyingvisualmaterialfromJaroc.There'scertainlyawiderangeofmoodsexploredhere,rangingfrom'TheReturnOfSuperBarrio'smorecartoonish(butstillpoliticallybarbed)styles,throughto'ICitizenTheLoathsome'snightmarishracethroughthebackstreetsofLondonatnight.WhilesomecommentedontheslightlackofdepthcomparedtoprecedingPlaidalbums,Greedy Babyrepresentsanimportantstepintheduo'smovetowardsfilmsoundtracks.
Tekkonkinkreet Remix Tekkinkonkreet (鉄コン筋クリート Remix: 鉄筋コンクリート)(Aniplex Inc., 2007)
Generally,remixalbumstendtobeapatchyaffair.Whilethere'stheoccasionalinspiredcollectionthatmanagestothrowagenuinelyfreshtakeontheoriginals,manytendtobeexcusesforthemarketingguystosimplytakeasecondbiteofthecherry.Inthecaseofthisremixcollection,theresultsprovetobebothconsistentlyexcellentanddiverse,withthelikesofDerrickMay,Vex'd,AtomHeartandPrefuse73alltappedforreworkings.WellworthpayingtheheftyimportpricefromJapanfor.
Pritchardafewyearsago.Wehaven'treallybeenaskedtotourAustraliabefore,soI'massumingthattherehasn'tbeenthatmuchofademand,”helaughs.“WehadtheopportunitytoseeafewofthemajorAustraliancitiesbackinthemid-90swhenwetouredwithBjörk,whichasyoucanimagineisarathernicewaytotravel.”WhenImentionthatI'dforgottenabouttheirinvolvementwiththatparticularBjörktourandactuallyattendedit,helaughsslightlyasthoughit'sanassociationPlaidconstantlygetaskedabout.“I'dactuallylovetoseemoreofAustralia.WethoughtaboutdoingalargerAustraliantour,butwehavetokeeptheSydneyOperaHouseshowexclusive.Ican'tseeustouringAustraliaagainafterthisintheimmediatelyforeseeablefuture.”
Finally,withtheknowledgethatPlaidhavebeenhardatworkontheirupcomingScintillialbumfor
thelastcoupleofyears,Ican'tresistprobingEdforafewhintsofwheretheduoareheadednextwiththeirmusic.Aretheystillcontinuingtheirlong-runningrelationshipwithWarpRecords?
“Ican'tsaytoomuch;thetimeforallofthatwillcomeabitlater,”isEd'sslightlyguardedresponse.“ThenewalbumshouldbeoutattheendofSeptember.Itisdifferent;perhapsalittlelessbeaty.IhavetobecarefulwhatIsayhere,butitshowsusdoingquiteafewthingsthatwehaven'treallydonebefore.PerhapsI'msayingtoomuchherealready,”hemuses.“We'vere-signedwithWarp;ouroriginalcontractwiththemfinishedlastyearandwere-signed.It'sacaseofmutualsatisfaction;theylikeusandweliketheywaythey'vehandledourstuff.Forthemtosurvive(throughthewholelabelcollapse)isabigthing,andforalabeloftheircomparativesizetheycontinuetosupportsmallerartists,especiallyinthecaseofWarpFilms,whichhasputoutsomeincrediblestuffalready.Ican'treallyimagineworkingwithanotherlabel.” CD
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allinnisthecapitalofEstonia.Itisbythesea.Population400000-20%ofitRussian.ItgetsverycoldinOctoberandthesnowusuallydisappearsinApril.Theclimateisreally,reallybad-endlesswinter.Wehaveabeautifulmedievaloldtownbutalsocrazycommieblocksintheoutskirts–allconcreteresidentialareasbuiltduringtheSovietperiod.”MariaMinervadescribestomehernativehomeofTallinn,Estonia,theBalticregionwhichaccordingtosomesourceshasthehighestlevelofinternetfreedomintheworld.
Perhapsitisthisfreedomandenvironmentalongwithafamilyupbringingfullofdeepmusicalriches(herfatherisarespectedmusiccritic)thatleadMariatohercurrentlifeasanartstudentinLondonandasaburgeoningmusician,gainingrespectandresponsesonmanywebsitesandseveralrecordinglabelsworldwide.
Todate,shehasreleasedacassette,‘TallinnAtDawn’onBritt&Amanda‘Pochahaunted’Brown’sNotNotFunlabel(“songsaboutTallinn,thestrangethingsinmyroom,Californiaand10
rockchickslisteningtoNeu!”,accordingtoMaria)andtheNobleSavages12”onBrown’s‘disco’label100%Silk.ShehascollaboratedwithseveralothersandputherhandtoremixingbandssuchasKeepShelleyInAthens.
Comingacrossassmart,savvyandwithaself-effacingattitude,allthewhilemaintaininganunderlyingconfidencethatiscommoninmanyEuropeans,IspoketoMariaMinerva(realnameMariaJuur)aboutmanysubjectsinasomewhatnon-linearmanner.Listeningtohermusic-amixof‘80sVHSghostlylonginganddefensivecool,coupledwithdiscobeatshiddenbehindagauzeofsoundsandwashes-it’sevidenthertrajectoryisdefinitelyontherise.
SomereviewersliketolatchontotheperceivedsexualenergywithinMaria’smusic.Hercould-have-been-a-modellooksandcooldemeanornodoubtaddtothemyththatit’sallaboutwhatgoesonbetweenthesheets.However,it’smusicthat’smoreimportantthansexfortheperformer.
“WAYmoreimportant.Ithinkthepeoplewhofocusonthatneedtodealwiththeirownunderlyingsexualenergies!I’mnotsayingthatitisnotthere,butIdonotthinkitisthemostimportantthing.Plus,thereisahugeamountoflike,“camp”,or“quotation”init.
“It’snotmemoaning,itisthedistantDonnaSummer.OrwhenItagmytrackonYouTube
as“slutwave”itisbecauseitwasaninsidejokebetweenmeandafriend,notbecauseIthinkthatIproduceslutwave.Whatisthatanyway?Ha.”
Iwasmorecuriousaboutwhatthe23-year-oldfeltwasthesoundtrackofromanceandthesoundofheartbreak.
“Whenitcomestoromance,peopletendtohavesoundtracksforthebeginningsandendings,thehighandlowpoints.Iamgettingoldandmoreinterestedinthepossibilityofaboringdailyco-existence.
“I'dpreferlisteningtomusicwithsomeoneIloveinsteadofthinkingaboutourrelationshipintermsofsongs.AlthoughonceIbrokeupwithaguyandforcedmyselftolistentoDionneWarwick's‘Heartbreaker’-ithelpedbecauseitmademyproblemsandmyselfappearasatotalcliché,evenmytongue-in-cheekapproachtothissongendedupbeingaclichéaboutacliché“.
How exactly does somebody feel old at the glorious age of 23?
“I'vealwaysfeltold.Beingateenwascool,butthetwentiessuck,especiallyinabigcitylikeLondon.YoucanseehoweveryoneisstrugglingsohardtofindtheirwayandIsensethispanicintheairallthetime,peoplethinkingintermsofnetworking,peoplebeingforcedtoworkforfreeandsoon.Verycompetitive.
“Ithinkthebiggestthingonehastofigureout
aria inerva
Maria Minerva International
byLyndonPike
“Tm
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listeningtoanawfullotofmusic.Iwasatschoolthensoprobablyfirstdramasinvolvinghumanrelationships.Makingfriends.IthinkaroundthenIalsofellinloveforthefirsttime.ItwaswithmyclassmateEdgar.In2011heisstudyingtobecomeadoctor.Grandmapassedawayjustrecently.Myfatherisstilllisteningtoalotofmusic.”
Maria’scurrentstudiesaresometimesatwarwithhercreativeprocesses.WithaB.A.inArtHistoryalreadyunderherbelt,sheiscurrentlystudyingtowardsanM.A.inauralandvisualculturesatGoldsmiths.Despitethatshe’smanagedtocollectandcreateenoughmaterialtoreleaseanewalbum,Cabaret Cixous.
“I’minterestedtohearwhatthecriticsthathavenotreadthisinterviewwillsayaboutmy
‘development’,asthetracksontheLParemorelikepropersongs,eventhoughtheywererecordedatthesametimeastheearlierreleases.WhenIgotsigned,NotNotFunjustwantedtocurateandreleaseeverythingIhaddone,soprobablyI'llbefeelingpressurewiththisrelease.‘CabaretCixous’ishowitis-materialrecordedwhenIdidnotexpectthatmanypeopletoactuallyhearit,asitwaswiththetape(‘TallinnAtDawn’).Thelatterwasreceivedwell,soI'mhopingthatpeoplewilldigthenewLPtoo.
“CabaretCixousisverypop,orifyoulike,avantpop.I'dsayitisveryaccessible,leavingasidethesuperweirdalbumartworkthatIcannotwaitforpeopletoseecositisabsolutelyinsane.Ijustrealizedthatthemajorityofthesongshaveextremelylamelovelyrics,thetapewasabit
moresophisticated,butyeah,theLPisverymuchaboutmentalandphysicallove.However,Ihavetosay,itismoreinspiredbythehistoryofpopthanmyownexperiences.Itisstillsincereandit’slikelyyouwon'thearthelyricsanywaybecauseofthereverb!
“IthinkitismoreforgirlsthanboysbutmyaudiencesareopenenoughsoIshouldn’treallysaythat.ThetitleisareferencetoCabaretVoltaire,CabaretDerrida(anelectronicmusicfestivalonceheldinEstonia)andHeleneCixous,phallogocentrism,dadaismandyaddiyaddi.Yes,Ihavebeenintheuniversitysystemfortoolong,butIjustlovedthealliterationtoo.Ithinkpeoplewillrememberthis.” CD
iswhatthey'reactuallygoodat.Idon’tknowthatmanypeopleintheirtwentieswhowouldsaythattheyarehappy,butIknowmiddle-agedpeople,whoseemcool.Icannotwaittofinallychillout!”
Forsomeonestillsoyoung,Mariaisseeminglywisebeyondheryears.Sheisverywellversedinart,literatureandespeciallymusic.HertastesrangefromdeepDetroittechno,tothedronesofWilliamBasinski,tothrowawaydancepopandbeyond.
“Wisebeyondmyyears?MaybeIusedtobe,notanymore.Iwasprobablyjustabitmorepretentiousandcuriousabouttheworldthantheaverageteenager.IdonotthinkthatI'mthatsmart
anymore...butI'mstillcurious.Ithinkitcomesfrommyparents,theyarebothsmartpeople.
“Ialsowenttoagoodschool.Somefolkshaveaccusedmeofbeingaprepschoolkid.Well,whatcanIsay?AlleducationisfreeinEstoniaandIendedupthere.ButIreallylookuptothoseofmyfriendswhohavediscoveredtheworldofavant-gardeoralternativeculturewithoutcomingfromagoodfamilyorschool,somehowthisseemsmuchmoreinterestingtome.”
Maria’smusichassenseofhumouraboutitthatsometimescanbemisconstruedaspastiche.Sheexplains:
“SometimesIhaveahugeproblemwiththepastiche-elementinmyownmusic,sometimesInamelywanttoape.Ithinkinmusic,manythingscomedowntopersonalobsessions.Iamobsessedwithbothhighartandcheappastiche.”
Producingallofhermusicsofarinthebedroom,Iqueriedthepotentialriskofsendingoutacreationwithtoday'stechnologicalsimplicitiesandeasethatmayhavepreviously
remainedunderlockandkey.“Ithinkthewholeideaof‘releasing’haschanged.Insteadofreleasingonealbumayearoreverytwoyears,youngmusicians(meincluded)arereleasingeverythingallthetime.Ijust‘released’acompletelyrandomBeeGeescoverlastweekviaSoundcloud.Itwasdedicatedtomyfriend,andyes,itwasmadeveryquickly,asresultofhard-coreprocrastination.
“Atthesametime,Ihaveawholealbumoutnow(Cabaret CixousonNotNotFun).IhaveadifferentsenseofeverytrackIhavemade.Somehavetakensomuchtime,othersarejustrandombastardbabies.Theinterestingthingisthatthe
audiencesdonotknowaboutthesethings.AndImightendupgivingawrongimpressionofmy‘artisticprogramme’.Butconfusionissex,innit.”
How many songs DON'T you release?“Ihaveanexternalharddrivefullofcrapthat
Idonotwantanyonetohear.SometimesItrytorecyclethisstuffbutusuallyfail.What'sdoomedremainsdoomed.Mindyou,IjustrecycledatinybitofsomethingforaMariaMinervaandL.A.Vampirescollaborationanditsoundedreallycool-anexceptiontotherule.”
MariastatesthattheMariaMinervapersonaistheidealisticpartofherself.
“Itdoesn’tbleedintomydaytodayexistenceatall-Iwish!OnthestreetsofLondon,I'mlessthannobody.Popstarfantasiesremainsatisfiedonline.”
Withthatinmind,IquestionedMariaifattentionfromfansorwriterswasimportanttoher,orwaspraiseabyproductofacraftthatwascreatedtosatisfyherownartisticurges?
“Feedbackisso,soimportantandI’mblown
awaybythefactthatsomeoneisactuallylisteningtothisstuff.Whenitcomestowritersorbloggers,sometimesIwishthey'dsurprisememore,butI'malwaysflatteredbytheattention.Itisalsomakingmeverycurious–Iwanttoimaginethesituations,thepeople,everything.Initially,makingmusicwasjustmywayoflettingoutsomesteamanddealingwithmyobsessions.However,therewerenoexpectationsthatitwouldbereleased.”
Have you had any bad reviews? If so how did they make you feel?
“Ofcoursetherehavebeensomereviewsbyindividualbloggersthatwerenotthatenthusiastic.Theymademeabitsad,butatthesametime,
c’mon,musicisuniversalbutitisnotTHATuniversal.Everyoneisnotintothesamestuff.
“Somecommentshavebeenreallyfunny,theyhavenotevenbeenaboutthemusicbutratheraboutmylooksorsomethingirrelevant.AtAlteredZones,someonecommentingonmyCaliSchemingvideoandsaidIlookedlikeAnthonyKiedisfromRedHotChilliPeppers...orwhensomeonesaysI'ma"fuckinghipster"orsaysI'mFinnishandrepresentthe‘Finnishpost-structuralistrave-scene’.Ihaveawell-developedsenseofhumour,soIfindallthishilarious!AslongasIknowthatsomepeoplegenuinelylikethestuff,I'mokaywithit.”
Howdoyoudealwithdisappointment?“Itakeabath.”
Whatistheworstthingyoucouldbelabelledas?
“FAKE.”Tell me about Maria Juur at age 9. What
are some of your formative memories?“Summersatmygrandma'splace,mydad
I think the people who focus on that need to deal with their own underlying
sexual energies
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especiallythebass,isamazingformyears.Hisuseofsynthesisersisjustmasterful,thedegreeofsubtletyissomethingtoaspireto.‘TheSilentChorus’makesmeconjureupimagesofanelatedandsadVangelisrecordingmusicinhisstudiothenightafterhandingoverhisdaughtertohisfutureson-in-law.Verypowerful.KeeppushingonJohn.
Alan Vega – Saturn Strip‘Every1’sAWinner’.ThisistheonesongthatmotivatesmemorethanlisteningtoanyofTonyRobbins’motivationaltapes.Ithinkit’sgreathowheviewsself-developmentandimprovement.
LaurenzPikeofPVTlayedthisonmewhenweweredrivingnorthtodoagigatasmallgoodsfunction.Ittotallyblewmymind.WecouldbothvisualiseAlandressedinatracksuitthathe’dbeenwearingfor3dayspunchingtheairwhilerecordingthissong.Definitelydoneinonetake.KirinJCallinanintroducedmetoSuicideamongstmanyotherthings.ForthatIamdeeplyindebtedtohim.
Tonetta777 –777Tonettawasabeautifulaccidentaldiscoveryforme.IthinkIreadanarticleabouthiminTheVinewhilehavingmymorningespresso.Onehourlaterand30+YouTubeclipsIwashookedonhisgenius.Theclipsalonearesoconfronting!Ilovehowmostofthesongshaveanidenticaldrumbeatandguitar/basspattern.Hislyricsaremasterfulandheisamaninfullcontrolofhisemotions.It’ssohardformetopickafavouritetrack-‘MyBro’,‘RedWhiteandBlue’,‘GodTreatsYouRight’,‘YouGotTooMuch’and‘BelieveMePeople’arestandouttracksforme.Therestarejustasamazing.ItwouldbesofantasticforTonettatoonedayrecordaDonnyBenétsong,arealdream.
Prince – Dirty Mind/1999/ControversyThesealbumsseldomleavetheCDplayer.AsshowninmyloveforPrince,I’mahugefanofhismusic.Dirty Mindissoraucousandsexy,asalistenerIcan’tturnawaywheneverthisison.MyfatherandIfightoverthisalbum-hethinksit
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Songssuchas‘SexyDancer’and‘IWannaBeYourLover’arethestandoutsforme.Theextendedjamon‘IWannaBeYourLover’isbasicallythebackingtracksminusvocalsanditspresenceinthebackendofthesongissuchateaseforthelistener.GettingChakaKhantocover‘IFeelforYou’inspiresmetohopefullygetanotherartisttocoversomeofmysongssomeday.ThisalbumisalsoafavouriteoftheBenétfamilytolistentowhenwe’remakingsauceonourannualtomatosauceday.
John Maus – Love is RealMausisagenius.IwouldlovetoseeJohnMausplayatanItalianweddingoneday.IwouldloveinvitehimovertoDonnylandstudiosforaspecialcollaborationandsomeofmymother’slasagne.Wecanonlydream.WhenIfirstheardLove is Real Iwastotallyblownawaybyhowsubtlethesongswere,especiallytheinstrumentationandproduction.‘HeavenisReal’and‘TheSilentChorus’arethestandoutsforme.Allofthesongsarereallygreatbutthesearetheonesforme.The“sound”ofHeaven is Real,
Prince – PrinceProbablyoneofmymostfavouritealbums–everythingfromthephotoofthenakedPrinceridingahorseandhisplayingofalltheinstrumentsonallsongsmakesthisalbumgreat.IthasinspiredmetomakesureIplayalloftheinstrumentsonmyrecordingsandhismusicalityhas
setthebarformetoaspireto.Hisuseofsynthesisersshowshoweffectivetheycanbeascolourinasong.AsawriterandrecordingmusicianIamdeeplyinfluencedbythisrecord.
Cyclic Selects e byDonnyBenét
crossesthelinelyricallyandwheneverweplayitdoingourworkoutsessionshehastoleavetheroom.Iguessthere’sonlysomucha1950sItalianmancantake!Personalfavouritesfromthisalbumare‘Uptown’and‘DoItAllNight’.
1999 isanincrediblealbumfromaproductionpointofview.ThisalbuminfluencedmydecisiontobuytheSequentialCircuitsDrumTraksdrumcomputer.Theuseofsynthesisersinthisalbumblowsmeaway.Mydadisahugefanofthisalbumalso.We’reworkingonre-recordingitatthemomentasakaraoketapeformymother’s60thbirthdayparty.
Controversy isalsoahugefavouriteamongsttheBenétfamily.Ijustlovetheattitudeofthesongs,nottomentiontheexcellenceinproduction.‘PrivateJoy’istheoneforme.
Phil Collins – No Jacket RequiredWheneverthingsgettoohecticinlife,‘OneMoreNight’getsplayedstraightaway.I’msoonblissingoutuponthesongtouchingmyears.It’sliketakingawalkonthebeachbutwithoutbeingthere.PhilCollinsisaninspirationashe’sproofthatamanwithathinningheadofhaircanmakeitinthistoughbusiness.‘Sussudio’issuchaclassic.I’dlovetocoverthissonginthefuture.Asasinger,‘Don’tLoseMyNumber’hasapunchthatiswellappreciatedinmyfamily.ThisisoneofmyNonno’sfavouritesongs,althoughhesingsitas“Youdonalosemynumber”.
Giorgio Moroder – Scarface soundtrackThisalbumisafavouriteofmineasitwasoneofthefirstrecordingsessionsmyfatherdidforGiorgioMoroder.They’dbeenfriendssincechildhoodbutthiswasafterGiorgiostoppedplayingtheItalianclubcircuitsintheearly70s.DadwasreallyexcitedashegottomeetAlPacinoduringthetestscreenings.Dadtookhimfishingafewtimesandtaughthimhowtomaketheperfectespresso.Askids,wheneverdadhadabittoomuchtodrinkhe’dplaythisalbumwithhisheadphonesonandsobquietlyinhisden.
Ariel Pink’s Haunted Graffi – Before TodayFantasticalbum,DaveMillerandLaurenzPikeofPVTlayedthisonme.WealsowenttotheSydneygigtogether,itwasreallygood.IfArielPinkiseverconsideredmainstreampopmusicthentheworldwillbeanevenmoreamazingplace!Thesongs,productionandindividualperformancesfromthemusiciansblowmeawayevertimeIlistentoit.‘Reminiscences’isthedarkhorseformeonthisalbum.EventhoughI’mtotallywrong,Icanjustvisualisetheold1970sstudiomusiciansrecordingthissongforsomekindofinfomercialabouttropicalgardeningproducts.I’dlovetogetArieltore-recordoneofmydad’searlysongsthatneverquitemadeit.Ithinkhiswarmthandmusicalitywouldreinvigoratethesong.Whatanartist!
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© ®FREEin Australia
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