Fat Planet Returns – on Double J

Many moons ago, my radio program Fat Planet boomed out of the FBi Radio transmission tower, spreading a heady diet of brand new music from all around the world, and together we laughed and danced and cried and made merry for many years. Flash forward to 2017, and I’m super-stoked to tell you that Fat Planet is returning, with the same curatorial mission – to uncover vital sounds from music cultures around the globe. This time around, Fat Planet finds it home with the genius minds at Double J, and it all kicks off next Wednesday (18th January) 8pm. “Your ticket to a big world of music” – on mobile, online, digital radio & tv.

I wrote a recap about the original Fat Planet program back in 2008 – get familiar here.

From Xiu Xiu and Twin Peaks, to freak-folk and makeshift shrines – My 2016 Moments In Music

Whilst contemplating some of my favourite music from 2016, I realised that a bullet list holds many secrets; that choices shared in public are often born of intimate moments. And so here a few such moments, tales that needed to be told, to cast much-needed light on the year gone by.

1. Listening to Xiu Xiu playing The Music Of Twin Peaks, whilst in Twin Peaks

When I decided to take a short trip through the U.S. northwest, I knew that I could cross something special off the bucket list – to make a pilgrimage, 25 years in the making, to Twin Peaks. The town itself doesn’t exist, but rather it’s an amalgam of filming locations around North Bend and Snoqualmie, forty minutes east of Seattle. I visited Salish Lodge, aka The Great Northern Hotel, atop Snoqualmie Falls (which provided the waterfall sequence in the opening credits); along with the location of the ‘Welcome To Twin Peaks’ sign, Twede’s Cafe (which doubled as The Double R), the Twin Peaks Sherrif’s Dept amongst others.

All the while, I was listening not to Angelo Badalamenti’s original soundtrack, but to the album of covers, Xiu Xiu Plays the Music of Twin Peaks. This was a wholly appropriate choice given that Xiu Xiu had rendered Twin Peaks anew in 2016, just as I was witnessing the iconic locations a quarter of a century after the fact. The aesthetic of the rework brought to mind Ronette Pulaski’s lengthy flashback at the end of Episode 1, Season 2 – Killer Bob is astride her, beating down on her chest with gorilla-like fists, while Laura stands idly by, flashing vampire fangs in slow motion. It’s beautiful and disturbing, haunting and violent, revolting and compelling – the true essence of David Lynch caught in a moment, wrapped in plastic.

2. Stumbling out of the daylight onto Muscle & Marrow


I always believe that you should arrive early at a gig to catch the support bands. This paid off beautifully when I went to Marissa Nadler’s Portland show and caught the amazing Muscle & Marrow in the opening slot. Plaintive torch songs, spurned howls, brutal guitar – visceral and compelling work, neatly falling into similar Lynchian terrain as Xiu Xiu. I was an instant convert. The latest work from the duo of Kira Clark and Keith McGraw is called Love – a single word, which in their hands, promises a mesmeric tour of heartbreak and anguish.

3. Discovering the psych-freak-folk and voodoo reverberations of Sweden’s Goat


In the latter half of the year, I told anyone who would listen about my love of Requiem, the most recent album from Swedish band Goat. It’s a record that somehow manages to combine psych-rock, freak folk, afrobeat, trance rhythms, and (yes…) pan pipes into a bizarre yet delicious cocktail, boiled in a copper pot over a roaring pagan fire. Goat claim that their home village, Korpilombolo, was cursed by a witch doctor many centuries ago and that the voodoo reverberations still resonate today. True or not, every possible outcome of that story is right there in the music, just waiting for you to sacrifice your scepticism.

4. Visiting the closest thing we have to Kurt Cobain’s grave


Kurt Cobain spent the last days of his life on Lake Washington Blvd in Seattle. It’s an affluent part of town, and the house is a stone’s throw from Seattle’s grandiose private tennis club. I visited the adjacent Viretta Park, from where you can see the top of Kurt & Courtney’s house, poking above the trees. The greenhouse in which Kurt took his life was knocked down by Courtney before she sold the place. He was cremated and his family holds his ashes, so the park – with its graffiti strewn bench – acts as a makeshift shrine. I was an admirer, rather than a fan, of Kurt and Nirvana, and thus I was quite taken back when I found myself momentarily overcome with emotion. I arrived there as an impartial observer, but something took hold of me, albeit briefly. Perhaps it was simply knowing that such a profound death occurred within a few meters of where I stood. Perhaps it was the reminder that Kurt was only 27 when he took his own life. Perhaps it was the knowledge that depression can be such a cloying, persistent and horrific state of mind for many of us and that there but for the grace of something, go I.

5. Marking the moment of Provenance with a vinyl test pressing


Two years ago, Sar Friedman sent me her album I And Thou and asked if I wanted to release it. I adored it, to me, it sounded like Bat For Lashes backed by Sunn O))) – a beautiful combination. But I didn’t have a record label, so I declined Sar’s offer. Another year went by, and Sar asked me again, telling me that she’d changed her artist name to Medicine Voice. I was reminded of just how incredible the record was. I thought “if no one else is going to release this, I’ll just need to start a label and release it myself.” And that was that. Provenance became a real thing.

The moment could have been marked by many events, but the arrival of the first vinyl test pressing of I And Thou was when it all hit home – this was different to all that had gone before. And it was also at that moment that I remembered why the physical music product was so important. The vinyl or CD or cassette is a self-contained and fully realised work of art. It is the finished jigsaw puzzle. We can marvel at the individual pieces and stream them with great joy and amazement, but it is in the realisation of the physical product where the artwork comes together into one glorious whole.

And thus Provenance was birthed, a new record label of left-field and experimental releases, commencing with I And Thou and followed by work from a beautiful family of artists – Paneye, Spartak, Lortica, Lovely Head, Aphir, KAIA and Kris Keogh. It’s been a challenging birth in some respects (read my recent interview with Who The Hell for a deeper perspective), but I sleep safely in the knowledge that the world is a better place with this music in it, and 2017 will be dedicated to getting that truth out there.

6. Pulling some pretty gritty music Out From Under


In 2016 I made 25 episodes of a new music podcast, Out From Under, a weekly hour-long program featuring eclectic and experimental Australian music, weaving documentary stories and interviews with new music specials and live performances. Out From Under was broadcast in the UK by Resonance Extra, a 24/7 broadcast platform from Resonance FM (home to Little Atoms and The Wire’s Adventures In Music & Sound) and podcast by FBi Radio in Sydney.

It was the first program that I produced ‘away from the desk’ – that is, all interviews were conducted in the field, and programs were voiced and edited at my home in the Blue Mountains. After thirteen years of paneling live radio, this was a fun and unique process, best encapsulated with the recording of the very first program, where I took a deep dive into ‘Pretty Gritty’ – an intimate experimental music event curated by Gail Priest. I interviewed Gail along with vocalist, composer, and multi-instrumentalist Astrid Zeman; Sydney sound artist Daniel Whiting and Canberra musician Happy Axe, who lulls beautiful and eerie tones from her violin and musical saw and presented them all in a final edit with live music recorded at the February show (listen back here).

Out From Under was a salient reminder of the eclecticism, originality, and talent that lies in the Australian underground, and the need for people, like Gail and others like her, to rise to the challenge and be their champion.

Further Listening

To close the year, this is by no means an exhaustive list, but indicative of where my love lay in 2016. 20 albums that you can add to the above, in no particular order.

  • Yves TumorSerpent Music (PAN)
  • Yama WarashiMoon Egg (Stolen Body Records)
  • AnohniHopelessness (Rough Trade)
  • EartheaterRIP Chrysalis (Hausu Mountain)
  • The NecksVertigo (Fish Of Milk)
  • Pye Corner AudioStasis (Ghost Box)
  • Elisabeth DixonLP1 (Trait)
  • Carla dal FornoYou Know What It’s Like (Blackest Ever Black)
  • EquiknoxxBird Sound Power (DDS)
  • CorinVirtuality (Wondercore Island)
  • Jenny HvalBlood Bitch (Sacred Bones)
  • Jóhann JóhannssonOrphée (Deutsche Grammophon)
  • Marie DavidsonAdieux Au Dancefloor (Cititrax)
  • Nisennenmondai#N/A (On-U Sound)
  • Brian EnoThe Ship (Warp)
  • Fatima Al QadiriBrute (Hyperdub)
  • Kaitlyn Aurelia Smith & Suzanne CianiSunergy (Rvng Intl)
  • ScrapsTTNIK (Moontown Records)
  • Tomorrow The Rain Will Fall UpwardsWreck His Days (Blackest Ever Black)
  • VariousSpace Echo – The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! (Analog Africa)

Who The Hell Interview

“[It’s] frustrating and validating in equal measure … a process of recalibrating my own expectations. It’s a weird fucking time to be releasing music.”

I was interviewed by whothehell.net about Provenance and apparently I decided that it was cool to swear heaps. That said, this is a generous overview of my work to date and the genesis / early days of Provenance. It also reaffirms once again that I have a masterful knack of making a rod for my own back.

Read the full interview at whothehell.net

Image: from Who The Hell Facebook, not of an actual Provenance party. We’d be far less happy.

Medicine Voice – ‘The Roman / Crossing The Fourth Threshold’

‘The Roman / Crossing The Fourth Threshold’ is the new single from Medicine Voice, the second track to be singled-out from the album ‘I And Thou‘ (out now on Provenance). To mark the moment, Medicine Voice has collaborated with artists Louisa Clayton and Kevina-Jo Smith on a beautiful new film clip, shot on location in the Blue Mountains. Sar also had some words to say about the film, about hope, about Standing Rock, which you can read on the Provenance web site.

Neon Fern

Saturday 26 November I’ll be rolling out my Beau Kannon alias for a DJ set at Neon Fern a night of “dark techno, leftist pop and electronica”, and of course ferns. Taking place at Baroque in Katoomba, there are also sets from Melty, Ghostgirl (whose new album A.I. Ambient Intimacy was released earlier this week), Mannheim Rocket (3BS Records) and Broken Chip. Plus digital installations from Mark Sabb of U.S. online mag Felt Zine.  Tickets and info on Facebook.

Aphir – ‘No Muse’

New on Provenance: The result of many long conversations and a mutual appreciation of the wisdom of Dale Cooper – the new single from Becki Whitton aka Aphir aka an artist who was once dubbed “equal parts Kate Bush and Bjork”. What’s not to love? This is the first taste of Becki’s upcoming album ‘Twin Earth’, due on Provenance in early 2017, and follows a series of self-released singles and her 2015 debut album ‘Holodreem’.

Lovely Head – ‘Show Up’

Super-excited to finally release the excellent ‘Always’ EP from Lovely Head through Provenance – a six-track experimental pop EP from Sydney producer, ex-No Art guitarist & writer Vivian Huynh. Exploring themes of tension, distance and lust, ‘Always’ is a combination of desert guitar, misshapen beats and quiet longing. Available on digital and super-limited lathe cut 10” vinyl, shipped with full-colour sleeve print.

The video for the lead track ‘Show Up’ is described by Vivian as a “love letter to Cabramatta”. She says: “I’ve been going there since I was a bleary-eyed infant. We’d go on weekends, and have lunch first. Mum or dad would order the pho. You get given a little bowl and a pair of scissors that your parents use to slop a bit of their noodle into and cut up for you to eat. Then I’d trail my parents as they did the grocery shopping for the week, pick up the ‘ Chieu Duong’ paper, and flick through pirated Hong Kong movies to take home. Shooting this brought back the most bittersweet memories.”

Get the record at provenancerecords.com.


New on Provenance – Lovely Head

Last year, when I started to think about the artists that I was keen to have in the Provenance family, Vivian Huynh was an early addition to the list. I loved No Art and was a superfan of her solo work as Lovely Head. I’m stoked that Viv agreed to come on board, and doubly stoked to be releasing her new Lovely Head EP ‘Always’ on 21st October. The EP follows her collaborative release EP with Pendant earlier this year – stream the lead track ‘Show Up’ below and pre-order now at Bandcamp and iTunes.

Aphir & Anej Kocevar – ‘Cold Space’

I am the type of Aphir fan who will think nothing of assembling a cheer squad to turn up at her gigs wearing matching t-shirts and furiously waving pom poms. I am thus immensely excited that she is joining the Provenance family for her upcoming album, due later this year. I have already sneakily teased her involvement – she contributed vocals to Spartak‘s EP ‘I Fought The Style’; she dropped the track ‘Cold Space’ on the label sampler ‘Marks Of Provenance I’ (free with any purchase from the Provenance store!); and she also writes and produces for KAIA, who’ll be releasing her record on Provenance in 2017.

Watch Aphir perform ‘Cold Space’ above, accompanied by Anej Kocevar, rehearsing for their performance at this year’s Music Tech Fest in Berlin.

New on Provenance – Lortica

Lortica writes tracks using an omnichord, piano, synthesizer, samples and fabricated trombones, before wrestling the source material into a punishing ordeal of pitching, stretching and heavy effects treatments. I adored his debut album ‘Mialle Tapes’ released on Phinery and Feral Media in 2014, and I’m likewise smitten with the follow-up ‘Phellemens‘, which I will be releasing on Provenance on 26 August 2016.

Watch the video for ‘FL II’ from ‘Phellemens’ above. Prior to the release, Lortica has the great honour of supporting the perfect storm of Severed Heads and phile at Freda’s in Sydney on Saturday 13 August 2016.

Medicine Voice – ‘Aham / Realm of The Wild Woman’

Two years ago, Sar Friedman sent me her album ‘I And Thou‘ and asked if I wanted to release it. I adored it, to me it sounded like Bat For Lashes backed by Sunn O))) – a beautiful combination. But I didn’t have a record label, so I declined Sar’s offer. Another year went by, and Sar asked me again. I thought “if no one else is going to release this, I’ll just need to start a label and release it myself.” And here we are. Provenance is a real thing, thanks to Sar.

This Friday she plays the record in its entirety from beginning to end with Kell Derrig-Hall (The Singing Skies), Ben Morgan (Service Bells) and Ben James (Terza Madre), supported by Melodie Nelson and Lovely Head. It will be magic, and I would love for you to join us. Doors 8pm, show starts 8:30, I’ll be hocking the vinyl on the merch table.

First records now available on Provenance

It has been a mental marathon getting here, but the day has arrived. The first three records from my Provenance label are all now available from wherever you buy your music. iTunes, Google Play, Bandcamp, Amazon and so on and so it goes. Vinyl & Cassette editions also available through the online store, or can be ordered via your local record emporium (Repressed in Newtown already has a few vinyls). You’ll find them in all these places, waiting to be loved, yelping to be taken home. Treat yourself.

+ Medicine Voice ‘I And Thou’ (PR001) – Vinyl & Digital

+ Paneye ‘Desertism’ (PR002) – Cassette & Digital

+ Spartak ‘I Fought The Style’ (PR004) – Digital

Every day, once a day, give yourself a present. Don’t plan it. Don’t wait for it. Just let it happen.

Out From Under – new radio program

I’m back on the radio this week with the launch of my new weekly radio program Out From Under – focusing on eclectic and experimental Australian music, weaving documentary stories and interviews with new music specials and live performances. I’m excited to also announce that Out From Under will be broadcast on Resonance Extra, a new channel from Resonance 104.4fm (home to Little Atoms and @The Wire’s Adventures In Music & Sound); and will be co-produced with FBi Radio in Sydney.

The program aims Thursdays 11pm GMT / Friday 10am AEST. Listen online at http://extra.resonance.fm, DAB in Brighton & Hove (UK) or via Radioplayer and TuneIn.

More info.

Wood And Wire, Ears Have Ears Soundtracks

In 2012, I founded Wood And Wire – a digital-only record label with an ambit to represent experimentation in Australian music across all genres. Over three years, Wood And Wire released 37 albums and EPs, including material from Rites Wild, Kucka, Hollow Press, Textile Audio, Fatti Frances, David Evans, Adam Cadell, Pollen Trio and many more. Wood And Wire will be distributing its final release this month, to tie in with the conclusion of its parent project, New Weird Australia.

Here’s the statement from Wood And Wire web site:

New Weird Australia is concluding its mission after five years in operation, and will mark the moment with the final Wood And Wire release, ‘Wood And Wire: Ears Have Ears Soundtracks‘, featuring exclusive soundtracks recorded for FBi Radio’s ‘Ears Have Ears’ experimental music program, with extended material from Fatti Frances, Rites Wild, Hollow Press and Cycle~ 440.

The full Wood And Wire archives will remain online indefinitely, acting as a record of a unique and vibrant period in the outer limits of Australian music.


For the final release on Wood And Wire, we present a selection of original recordings from Wood And Wire artists created exclusively for the Australian radio program, Ears Have Ears.

Ears Have Ears: Unexplored Territories In Sound is a weekly radio program airing Thursdays 9-11pm on FBi 94.5FM in Sydney. Each week Ears Have Earsinvites a musician creating experimental, forward-thinking and innovative music to compose an original soundtrack to a film of their own imagining.

Since 2011, Ears Have Ears featured over 150 soundtracks, as well as exclusive mixtapes, live performances and interviews from internationally acclaimed musicians such as Lucrecia Dalt, Scanner, Nurse With Wound, Ben Frost and closer to home, innovative Australian sound makers including Lawrence English, Wonderfuls, Primitive Motion and Sky Needle.

DOWNLOAD WOOD AND WIRE: EARS HAVE EARS SOUNDTRACKS (WW37) Continue reading “Wood And Wire, Ears Have Ears Soundtracks”

Repercussions launches on FBi Click – listen to first two episodes

My new radio show, Repercussions, has launched on FBi’s new station, FBi Click. Every week on Repercussions I investigate the infinite connections in electronic music, past present and future. Each 60-minute show follows an artist, genre, producer, subject, location or label and explores the influential tracks that exist in their orbit – before, during and after.

The first episode is titled “In The Beginning” and is a collection of important touchstones in electronic music from the early 70s through to the mid 90s, including artists such as Kraftwerk, Donna Summer, Afrika Bambaataa, Severed Heads, The Art Of Noise, Aphex Twin and many more.

Download Repercussions #1 – In The Beginning

Repercussions #2 features our first Guest Selector – Sydney electronic music producer and DJ Gareth Psaltis, discusses the artists and tracks that influenced his work, including music from Autechre, Kanding Ray, Surgeon, Voices From The Lake and more.

Download Repercussions #2 – Selector: Gareth Psaltis

FBi Click Launch Party Flyer

FBi Click Launch Party at Goodgod

I’m DJing along with all the new FBi Click crew at Goodgod Small Club tonight (June 27th). Here’s the blurb:

FBi Radio is launching a brand new digital station dedicated to dance and electronic music: FBi Click!  We’re bringing together the best crews in the country to keep you dancing 24/7. Of course nothing’s official until there’s a party – so we’re taking over both rooms at Goodgod to kick this off with a bang. DJ sets from all the shows on FBi Click – aka:

Sweat It Out Music!
Purple Sneakers
Halfway Crooks
Picnic Touring & Events
Body Promise (Mealo & Amelia Jenner)
Repercussions (Stuart Buchanan)
Lazy Radio (Tony Chill)
Bare Necessities (Klue)
Goodgod Small Club DJs
+ FBi Radio DJs

Free entry before 10pm
$15 on the door ($10 for FBi supporters)
With special FBi Clicktails by Goodgod + FBi Clickdawgs by The Dip!


New radio show to launch on FBi Click

Today, June 25th 2014, the insanely talented bods at FBi Radio launch a new station, FBi Click, exclusive to digital radio + simulcast online. After a short time in the wilderness, after the close of the New Weird Australia radio show, I’m heading back to the swivel chair to present a new show on FBi Click titled Repercussions. Navigating electronic music past, present & future, the show is available on FBi Click, on demand any time at fbiradio.com/click and will also be available via podcast.

Here’s the official blurb from the FBi Click site:

Repercussions investigates the infinite connections in electronic music, past, present and future. Each 60 minute show follows an artist, genre, producer, subject, location or label and explores the influential tracks that exist in their orbit – before, during and after. Neither retro nor futurist, Repercussions celebrates the timelessness of electronic music, in all its forms. Repercussions is presented by Stuart Buchanan, founder of the experimental record labels, New Weird Australia and Wood And Wire.

Buchanan was one of the first broadcasters on FBi in 2003, presenting Fat Planet for five years, and the New Weird Australia radio show for three years. Prior to arriving in Australia in the early 2000s, Buchanan worked as a DJ and producer in the UK, influenced and inspired by pioneering artists such as Cabaret Voltaire, Einstürzende Neubauten, Aphex Twin and Throbbing Gristle. Stuart’s depth of knowledge and passion for electronic music will make Repercussions a surprising and intriguing experience each week.

Wood And Wire – New Music from Elbee & Invisible Prism

New on Wood And Wire this month …

Wood And Wire‘s June release schedule invites you to a take journey to the inner reaches of the mind; follow the sines to the symbols, to a place where time has no meaning, courtesy of our cosmonauts of inner space Elbee & Invisible Prism.

Psychic map-maker Invisible Prism drops his debut on Wood And Wire, titled Innermost Outerspace.  The EP is a analogue travelogue of subtle body music, timelessspace anthems and psychosomatic experiments – an instructional manual for a fantastic voyage.


Sydney producer Elbee recently found his way onto FBi Radio’s Open Day Podcast, and his track Boxing was added to rotation on the station shortly thereafter.  Visions Of Vactrols is the follow-up to his debut self-titled EP, and finds Elbee navigating between crisp, angular electronics and plateaus of hushed calm.


Further tales from the Australian Underground: Black Pines, Motion & Gatherer on Wood And Wire

New on Wood And Wire …

Dig deeper into the Australian underground with three new releases from the Wood and Wire label – Black Pines offer a ragged, psych-damaged lava-wall of ash and guts and glory; Motion erase improvised boundaries, merging avant-garde jazz and left-field electronics; and Gatherer offers ambient/drone pieces intended for the spaces between your headphones.

WW29: GATHERER Amoeba Miasma Void
Amoeba Miasma Void is the new EP from Gatherer – the solo project of Morgan McKellar, one-half of Canberra improv-noise duo, Cold House, formerly of Sydney band Underlapper and his now defunct solo project Morning Stalker. Manipulating (mostly) found-sounds from audio libraries, online video, and field recordings to create improvised sample-driven, Amoeba Miasma Void is a collection of four ambient/drone pieces intended for headphone use.

Black Pines is about dislocation. Two friends separated by real life, wondering out loud about how and why one whole side of rock history has evaporated. That missing side – the abject horror of psychedelic rock – is where this project lives. This isn’t a revival or pastiche. No jams. No art. This is criticism. // Ian Rogers (No Anchor) plays guitar and sings. Benjamin Thompson (The Rational Academy) plays guitar.

WW31: MOTION Syllepsis
Motion draws on experimentalism, avant-garde jazz, left-field electronic music and more. The result is music that deconstructs song forms, explores textural possibilities and is both hypnotic and immersive. Syllepsis sees Perth-based multi-media artist, Kynan Tan join the band to aid in the creation of a collection of music where electronics and instruments meet in a constant state of tension and release.

Full release details and download links are available on the Wood And Wire site.

Filthy Children on Wood And Wire – ‘Rainbow roads & techno schmeckno’

New on Wood And Wire …

Filthy, filthy, very filthy.

Like a pack of kids at the back of the bus, hacking Minecraft and throwing buns at hipsters, Sydney’s Filthy Children arrive with a howl, indifferent to the past, present and future. Their debut collection of disparate electronics pays little respect to those that have preceded them, those who tweak in their orbit, or those that are likely to follow.

Across 20-tracks, Chillection is a free selection of FilChil’s nonchalant side, featuring cuts from Defocus, Canecutter, Paperclip Galaxy, Mystery Wagon, Baerfrens, Moufteef, L-X-EN, cyber.akb, Kwze, Kaukana, Carpet Brick, Kuwait Paragraphic and Ilki – a wanton manipulation of the DNA of Australia’s electronic music, foreshading everything and nothing.

In their own words: “Chillection is a journey through sounds, sights, textures, graphics, boss levels, loading screens, character select, hidden packages, rainbow roads, techno schmeckno, dragons, wizards and warlocks, the temple of time, pallet town, springfield, rivendel and winterfel.”


Listen to PAPERCLIP GALAXY ‘Mars Glitter (Without Shame)’ in the player below:

New Year, New Music, New Heads

We’re entering 2014 with a pack of new releases – an audacious debut from Perth’s Mudlark, a four-track EP from the newly revitalised Pollen Trio, seven moments of magic from the international collab duo Piotr-Heslin, plus the second Wood And Wire release from Melbourne’s The Vainglories.

Our schedule for the coming months is filling up beautifully with EPs and albums in the works from Sydney electronic collective Filthy Children, former Morning Stalker Morgan McKellar in his Gatherer guise, Rites Wild’s Stacey Wilson as Regional CurseMotion + Kynan Tan in a new collaboration, and the debut release from Brisbane duo Black Pines, featuring Benjamin Thompson (Rational Academy) and Ian Rogers (No Anchor).  We’re also sketching plans, lightly in fine pencil, for a live label showcase sometime in 2014.

Off-web, you can also stay in touch with all Wood And Wire happenings via our YouTube and Soundcloud channels, or chance your luck on Facebook and Twitter.

Listen to ‘Troy Buswell Sniffing Seats’ by MUDLARK in the player below: