New Weird Australia, Western Schism

Stream / Download.


Sleeve Notes.

Western Schism is the second in our ad-hoc series of geo-specific compilations, featuring eighteen bands and artists from Perth in Western Australia.

The distance from Perth to Sydney (coast to coast) is only marginally less than the land mass span between L.A. and New York. Think for a moment on all the East Coast / West Coast paradigms that exist in American culture, and you can transplant some of that ideology down to Australia. Whilst we don’t have competing hip hop crews as such (although there was a moment back in the day when drum’n’bass might have taken on that skirmish), each coast often exists in its own unique world, often oblivious to the actions of the other.

However, whilst L.A. artists might have opportunities to play to audiences in San Francisco, Las Vegas, San Diego or similar towns and cities along the coast, their Perth cousins have no such luck. Isolated from any other metropolis or cultural hub, the act of generating awareness, finding new fans or growing a career used to involve an expensive and lengthy hike to the West, to connect with the majority of Australia’s population. Of course, that’s old school thinking – the digital age affords artists the ability to transcend such barriers, and this compilation plays one small part in an ongoing, flag-waving awareness exercise for Perth’s experimental music community.

The schism herein is as much geographical as it is artistic. These artists are outliers in both the literal and creative sense of the word – they celebrate their physical relationship with the world by amplifying it artistically. Distance need not be a tyranny – as is shown in this collection, it may in fact give us just the space we need to run free and get wild.

Stuart Buchanan, New Weird Australia


1. LEAVING, Days Apart (3:45) (previously unreleased)
2. SALAMANDER, Elixir In Echoden (Full Version) (5:17) (Original Version from the album Neocambrian, Record Label Records)
3. FM RASTER, Pattern 1 (3:43) (previously unreleased)
4. JANE HARRIS, Misery Cares (3:40) (from Misery Cares, Meupe)
5. MENTAL POWERS, The Last Amethyst Deceiver (4:20) (previously unreleased, recorded live on RTR Radio, 2011)
6. JAMES IRELAND & ANDREW SINCLAIR, Mary Weiss (5:59) (previously unreleased)
7. SAM GILLIES, People Are Afraid To Merge On The Highway (6:58) (previously unreleased)
8. KUčKA, Polly (serialkillersundays) (4:03) (from Kučka EP, Wood & Wire)
9. JAVIER FRISCO, Trout & Tippet / Scarlet Caravan / Cosmic Wood (5:58) (previously unreleased)
10. OUROBONIC PLAGUE, Snake Egg Talk (4:24) (previously unreleased)
11. FURCHICK, Rain (3:27)(previously unreleased)
12. CHRIS COBILIS, Waist Aglow In My Road (4:28) (previously unreleased)
13. PREDRAG DELIBASICH, Go Lobok! (3:09) (previously unreleased)
14. CRAIG MCELHINNEY, I Wish You Had Believed Me (3:22) (previously unreleased)
15. SOLAR BARGE, Semektet (3:44) (from Solar Barge, Indigo Children)
16. BROWN, Shave & A Haircut (4:09) (from Shave & A Haircut, self-released)
17. THE GULLS, Alfreds (3:08) (previously unreleased)
18. ELEVENTEEN ESTON, It’s All Again (Reprise) (2:44) (previously unreleased)

Compiled by Stuart Buchanan, with thanks to Andrew Sinclair, Matt Aitken & Craig McElhinney.
Artwork by Dan Bourke,
Released under a Creative Commons licence (Attribution, Non-Commercial, No Derivatives).

Catalogue Number. NWA012


Album Of The Week … the collaboration between Sinclair and James Ireland is the standout – the throaty vocal contribution, stretched and warped to within an inch of its life, is backed by a sluggish, occasionally forceful beat, and the track as a whole pulls you in and wraps right around you … this album brings together some of Perth’s finest merchants of noise and is well worth seeking out.”
Drum Media / The Music, August 2012

Western Schism provides an accessible framework through which non-experimental music schooled individuals could be encouraged to experience what might initially be thought of as ‘outsider’ sounds. It’s a nice tribute to the Perth artists who have shaken off the shackles off that ol’ ‘isolation’ buzzword to basically just get on with it.”
The Thousands, August 2012

“Perth seems more than adequately provided for lately when it comes to experimental sounds – hence the timely release of the New Weird Australia, Western Schism, entirely focused on artists from WA…”
Interview with Stuart Buchanan, The Wire – The West Australian, September 2012

“It’s great to gain exposure to new experimental work from WA, so nice work New Weird.”
Who The Hell?, August 2012

“We’ve been big fans of New Weird Australia for quite a while here at Life Is Noise. On a regular basis they dump some great compilation on the internet and introduce us to a whole pile of crazy music we might otherwise not have heard. This time round, they’re focusing on Western Australia, with Western Schism taking a look at some of the more interesting artists from WA. There’s more than a few familiar names for regular readers of Life Is Noise, but there’s two or three we haven’t yet featured.”
Life Is Noise, August 2012

“Perth res Ourobonic Plague delivers a dead zone crawler with thee perfect amount ov feel.”
Blam Blam Fever, August 2012

The West Australian, September 2012 :

Setec ‘I’ll Be Good EP’ (Wood And Wire)

Stream / Download.



On his new release, I’ll Be Good EP, Setec utilises found-sound percussion alongside looped guitar and cascading layers of his own voice to create a unique, headphone-focused sonic universe.

“easily fit[s] into the burgeoning generation of new producers tailoring their technique to an organic synthesis of electronic composition with more traditional instruments and textural samples in a pop framework. With the role of vocals and the extent of immersion in the novel moments that heavy sampling creates, Setec has found a strong balance that compliments the cadence and character of his voice, bringing it loudly to the fore or allowing it recede; in both situations either situated at the center of ordered sample conflagrations on repeat or, less dramatically, keeping a jaunty pace with their separate machinations.”
Decoder Magazine

“Whisking away into a rustic parallel world of refracted lights and cascading gamma rays, woollen jackets and snow blindness, the looping and graceful percussive interlay on display, along with Gibbs’ great vocals, evokes likeminded sonic slicers such as Cornelius and The Avalanches.”
Sonic Masala

“a wonderful collage of “found-sound percussion alongside looped guitar and cascading layers of his own voice”, that ends up as a beautifully chilled-out series of tracks”
Life Is Noise

“Beautiful experimental music that is rich with atmosphere.”
The Dadada


Equally as influenced by the complex melodies of Joni Mitchell as he is by the cut-n-paste aesthetic of Cornelius or The Avalanches, Setec (the moniker of Sydney-based solo artist Joshua Gibbs) is a musical attempt to blend the organic with the electronic; to meld the fleeting flickers of the past with nostalgia for a future that is yet to happen.

Having previously released the ambient EP Longer Letters, his music has received attention on both Triple J and FBi Radio, and has been featured in promotional videos for Triple J’s One Night Stand on ABC.

Setec on Facebook


1. I’ll Be Good (3:07)
2. Vowel of Owl (2:07)
3. Get Out Of Here (3:40)
4. Woodchips (4:24)


Joshua Gibbs – All instruments (guitar, bass, percussion, vocals, melodica, harmonica), production
Sepehr Nabi- Cover Artwork
Paul Butler-Tayar- Mastering
Alexander Tulett- Management

Special thanks to Wood and Wire, Bird’s Robe and New Weird Australia.

Catalogue. WW7

VAGRANT #6+7 – Per Purpose, Rites Wild, Doctopus, Craig McElhinney + Terrible Truths, Per Purpose, Gunns & Hamjam

Good Company & New Weird Australia present:

VAGRANT – a travelling gig series, a pop-up club-night with no fixed abode, an open-source platform for eclectic and experimental Australian music


FRIDAY 27TH JULY 2012 8pm
Galleria, 55 Wittenoom St, East Perth


Dada Records, Perth


PER PURPOSE ; QLD, Bedroom Suck Records
– launching their ‘Warburton’ 7″
(Debut Perth Shows)

TERRIBLE TRUTHS ; VIC, Bedroom Suck Records, Mexican Summer
– launching their ‘Terrible Truths / Hissey Miyake’ Split 7″
(Debut Perth Show)

RITES WILD ; VIC, Not Not Fun Records

Friday 27th July ; Galleria ; 55 Wittenoom St East Perth: 8pm
w/ Per Purpose, Rites Wild, Doctopus & Craig McElhinney

Saturday 28th July; Dada Records; 5pm
w/ Terrible Truths, Per Purpose, Gunns & Hamjam



“Would it be over-the-top to commence a sweeping ponderance about the parallel between Dada (the art movement) and punk rock, how both emphasize(d) shock tactics and controversy, but in a positive and useful way that both helped to clear the path for greater creative exploration, and proved potent as a political / social tool? Probably! Definitely! But that spirit of adventure and self-deprecation, that spitting-in-the-face of normalcy and mediocrity, is such a defining feature of (good) DIY music as well as the New Weird Australia initiative and Dada records itself. Tonight, meanwhile, has been more about good vibes, flickering shadows and light, BYO brews, great songs and the joys of being itinerant (physically, creatively) within the landscape of music.”
Cool Perth Nights, July 2012

New Weird Australia is the absolute pioneer of new experimental music in Australia. They have a free compilation seriesdigital record labelweekly radio show and podcastvideo blog (Output Device) and now they’ve extended all this into a live travelling gig series,Vagrant. Local wave-breaking sound devotees Good Company host the Perth Vagrant at art/project space Galleria (Danny Bourke’s Benchpress made a very lovely poster). We welcome the return of mega babe Stacey Wilson, AKA Rites Wild – if you’re a fan ofFabulous Diamonds or Maria Minerva you will dig Rites Wild’s cosmic drone pop. She’s joined by Brisbane’sPer Purpose (who are also playing Vagrant #2 the next day at Dada’s Garage), plus Craig McElhinney and good great boys Doctopus.
The Thousands, July 2012 (Preview)

Fallopian Tunes and New Weird Australia present Gloss Party

Fallopian Tunes and New Weird Australia present


The Mercat Basement 456 Queen St, Melbourne (Opp Vic Market)
From 10pm onwards, $10

Stemming from their recent mixtape collaboration titled Gloss and Moss, the eclectic Fallopian Tunes label, in association with New Weird Australia, assemble a hefty lineup of Melbourne based electronic acts, of!cially launching the project into the ether.

Artists performing at the Gloss party include the slow-burn, syncopated house styles of Speed Painters in their first show of the year; the largely diverse beats of Document Swell; Matthew Brown’s non-human soundscapes; the sweet, succulent MIDI-flows of Jacob Silver; and Call Me Professor, an 100% live collaboration between Exotic Snake and Raymond Scottwalker.

In homage to the filthy Berlin nights in which Fallopian tunes was conceived, expect a night of rude dance moves, four to the floor kicks, mind bending synth squelches and solid bass music. This night brings together an incredibly talented and unique group of rising local beatsmiths and fresh electronic artists.

Read More / Download the ‘Gloss & Moss’ Compilation

Event Press.

“The recent Gloss and Moss compilation by Fallopian Tunes and New Weird Australia shows just how rich and diverse our experimental electronic music scene has become. It is, if you’ll forgive a little editorialising, an essential (free) download. A really amazing snapshot that does a better job of explaining the infinity of forward-thinking sounds you can expect at this party, a live extension of the album.”
The Thousands, July 2012 (Preview

VAGRANT #5 – Scattered Order, Dracopede, The Mermaids


New Weird Australia presents

The Terrace Bar, 529 Hunter St, Newcastle

Scattered Order finally, ultimately brought the 3 headed noise monster back to Newcastle.

Confounding listeners for decades with their genre bending approach to sound, Scattered Order are in full flight after a massive re-energising. The band that founded the legendary Australian post punk M Squared label has been exhilarating audiences over the last two years with their totally unique approach to noise and tune.

Their multi-layered, sometimes abrasive, sometimes blissful sound is aimed at producing a third entity from the combination of noise with melody, adding seductive beats and eccentric processing.

Scattered Order performed under the writhing light of live video projections by Living Science Dept.

For more info:

Download audio files

with Dracopede (Lismore) and The Mermaids.

Event Photos by Skipist

Event Video Documentation by Drillbag

VAGRANT #3+4 – Talkshow Boy, Scraps, Feet Teeth + No Anchor, The Rational Academy, Anonymeye vs Ambrose Chapel

TALKSHOW BOY (Melbourne)


Both shows at:
THE WAITING ROOM, West End, Brisbane

Vagrant debuted in Brisbane in July over two nights, due to awesome coincidence, at the same venue. Programmed by Andrew Tuttle (Thursday 12th) and Ian Rogers (Saturday 14th), Vagrant’s inaugural Brisbane events brought a whole bunch of weird, wild and wooly Australian acts to The Waiting Room in West End.  Rad poster design by Matt Deasy of 7th Disaster.


Talkshow Boy (Melbourne): Talkshow Boy, aka Adrian K-Sahara aka Adrian Trajstman aka the guy from Keith! Party who raps heaps, has been creating amazing hyperactive hard-pop for almost a decade now. Talkshow Boy is energy personified and magnified, with elements of the synthesised world coming together in a frenetic blur. Electro, hip-hop, and breakcore are but some of the reference points for Talkshow Boy, although as a man who laughs heartily at genre, whilst giving it the warmest and fuzziest of cuddles, you know you’re in for something special. Talkshow Boy has released several albums, but Brisbane audiences will know that Adrian particularly shines in the live arena. Over heaps of performances over the last few years, this unofficial cultural ambassador for the Sunshine State sings, screams, yells, dances, and parties with reckless abandon.

Scraps (Brisbane): As Scraps, Brisbane’s Laura Hill creates melodic pop music that’s about as pure to the idea of a ‘good song’ as you can get nowadays. The Scraps live set is a lovely mix of humour, sincerity, the occasional awkward moment, and musical assuredness. Scraps is pretty much the essence of the DIY ethos, without the holier-than-thou argy-bargy. After way too long, Scraps has entered the world of recorded music, which is ace, as posterity is indeed a wise thing. A 12″ on Bedroom Suck, a 7″ on Disembraining, and some swell self-released CDRs should hopefully be at the ol’ merchandising table.

Feet Teeth (Brisbane): Feet Teeth are Joel, Paul, and Kate – three local darlings who together have managed to combine their love of textural sounds and incredible musical dexterity into something which is pretty wonderful. They make digitally mangled experimental free-jazz, with computer, trumpet, drum kit, electronics, marimba, commodore64 and other instruments. They’re also one of the few bands around that have chops, but aren’t smarmy jerks about it. Yet another reason to go see them live. Good vibes? Check. Good sounds? Check. Thumbs up to Feet Teeth!


No Anchor ( Brisbane’s most popular drone-doom-sludge-noise band (also Brisbane’s only drone-doom-sludge-noise band) return for their last show of 2012. Bass player / vocalist Ian Rogers heading to Europe in July and thus the band is going on ‘gig-hiatus’ until March 2013. So this is it: the last chance to hear this mess of a band for the year. And if that were not enough (it is often enough), they will be previewing a few new songs.

The Rational Academy ( This Brisbane four-piece may be the only black metal avant-pop supergroup on planet Earth. Loved by lonely teenagers and brain-damaged record collectors alike, these guys have been plugging away forever and never get their due. They are due a giant gold blimp, trailing the words THE RATIONAL ACADEMY ARE BETTER THAN YOU behind it. But life is bullshit, so it never happens.

Anonymeye VS Ambrose Chapel Total half-assed dog-shit played by two guys who couldn’t even get a gig if they weren’t so supernaturally attractive.

No Anchor photos by Charlyn Cameron.

New Weird Australia – Real Time Arts Interview

In this new video from Real Time Arts, I talk to Gail Priest about the past, present and future of New Weird Australia.

RealTime is Australia’s critical guide to international contemporary arts. Our focus is on innovation in performance (live art, experimental theatre, dance, music, sound), photomedia, film, video, interactive media and hybrid arts.

The website offers a comprehensive view of Australian contemporary art with an international perspective, combining the current print edition of RealTime, online exclusives and updates; the RealTime archive; new works on show in our studio; featured events (forums, festivals) and arts issues; and a portal that will guide you to the best sites in innovative contemporary art.

New Weird Australia – VAGRANT dates & line-ups announced

(cross posted from

VAGRANT is New Weird Australia’s travelling gig series – a pop-up club-night with no fixed abode and an open-source platform for eclectic and experimental Australian music.  Following its Sydney launch with GUERRE, SCISSOR LOCK and MAJOR NAPIER, VAGRANT travels the country during July 2012, calling at Melbourne, Brisbane, Newcastle, Perth & Adelaide.

MELBOURNE – SUNDAY 8TH JULY (TODAY!) VAGRANT #2 NAPS, WOOSHIE, KANE IKIN, BABA X (dj), ZANZIBAR CHANEL @ The Workers Club, Fitzroy – presented with This Thing





Also this month, the Fallopian Tunes label, in association with New Weird Australia, assembles a hefty lineup of Melbourne based electronic acts on SATURDAY 28TH JULY to officially launch our recent free compilation, Gloss & MossSPEED PAINTERS, DOCUMENT SWELL, MATTHEW BROWN, JACOB SILVER and CALL ME PROFESSOR will play The Mercat Basement, 456 Queen St, Melbourne (Opp Vic Market) from 10pm.

Our next Sydney event will be held in September, as part of the Sydney Fringe – more info soon.

VAGRANT #2 – Naps, Wooshie, Kane Ikin, Baba X, Zanzibar Chanel

This Thing & New Weird Australia present
BABA X (dj)
10″ Recording + live projections by Hamishi Farrah

JULY 8th 2012
THE WORKERS CLUB, Fitzroy, Melbourne

N.P.C.B (This Thing’s in-house sound aficionado) was on deck to record the event to tape. Naps, Kane Ikin & Wooshie performed new songs for the first and last time to appear exclusively on vinyl. Pressed onto 10″s thanks to Cut Record. A small amount of these limited-edition 10″s will be available on Hamishi hand painted the covers individually and both Hamishi & Naps performed projections all afternoon/evening

New Weird Australia Podcast #29, Wood & Wire – Label Feature

From 2009-2012, the New Weird Australia Podcast featured selected interviews and in-studio recordings from my FBi radio show, as well as live performances from events, video interviews and more.

In New Weird Australia Podcast #29, we highlight a new companion project called Wood & Wire – a digital record label which sets out to promote experimentation in Australian music across all genres.

Wood & Wire focusses on free, artist EPSs and albums, and it launched in June 2012 with four releases from PEON, EMILY GRANTHAM, BOK DARKLORD and MACHINE DEATH. This podcast episode features tracks from each of these releases, as well as exclusive tracks from the next two additions to the catalogue from SHISD and REGIONAL CURSE, due in July 2012.

DOWNLOADNWA Podcast #29. Wood & Wire, Label Feature

Emily Grantham review from Life Is Noise

Life Is Noise has reviewed Emily Grantham‘s release ‘Chocolate Syrup’ on Wood & Wire.

They noted its “trippy and unnerving blend of synth, vocal samples and discordance“, ultimately finding it “brilliant and damn creepy“.

In their own words: “Life is noise exists to bring interesting, independent, unique, challenging and just plain fucked-up music to Australia and the world”. Get more at

Three new projects marking three years of New Weird Australia

Pictured: Emily Grantham – releasing her debut EP on the new Wood & Wire label.

(cross posted from

Since its launch in June 2009, New Weird Australia has supported and promoted hundreds of artists at home and overseas through its compilation series, live events and other initiatives.

To celebrate its third birthday, New Weird Australia is launching three new projects: an open-source, pop-up gig series titled ‘Vagrant‘; a new digital record label, ‘Wood & Wire‘ and an ongoing blog supporting video work from Australian artists, ‘Output Device‘.

Vagrant‘ is a pop-up gig series, offering small grants to local promoters to stage one-off events under the ‘Vagrant‘ banner.  Following a call-out in April, the series will call at Perth, Adelaide, Sydney, Brisbane, Melbourne & Newcastle during June & July, drawing from a line-up that includes Holy Balm, Rites Wild, Asps, No Anchor, Blank Realm, Kane Ikin, Per Purpose, Terrible Truths, Anonymeye, Rational Academy, Talkshow Boy, Feet Teeth, Scraps, Major Crimes, Naps, Wooshie and more. Venues and dates will be announced shortly.

Wood & Wire‘ is a new digital record label, promoting experimentation in Australian music across all genres.  Born of New Weird Australia, but existing separately from it, ‘Wood & Wire’ launches with four free releases:

  • Inter Alia‘ from Melbourne duo Peon, featuring Lloyd Swanton from The Necks
  • the debut release from young experimental electronic producer, Emily Grantham, titled ‘Chocolate Syrup
  • a complete remake of the reviled Lou Reed & Metallica album ‘Lulu‘ from BOK Darklord (aka Buttress O’Kneel and Lucas Darklord)
  • and the self-titled debut from Machine Death, featuring reknowned experimental artist Ben Byrne and Ivan Lisyak from The Paper Scissors.

Download the first four releases at

The third and final project to be launched this month is ‘Output Device‘.  Recognising a lack of a central platform for video work from artists in the New Weird Australia vein, ‘Output Device‘ is an ongoing blog project that curates new clips at  Submissions from artists are welcomed and encouraged.

These three projects cap a highly successful 36 months for New Weird Australia.  Most recently, the eleventh volume in its free compilation series was released – a co-curation with Melbourne label Fallopian Tunes, the 22- track ‘Gloss & Moss‘ collection has recorded over 4,000 downloads in its first month and is available from  In addition, New Weird Australia’s 2010 release from Sydney artist Paneye, ‘Lost In A Dark Aquarium‘ last month hit the 17,500 download mark – the project’s most successful release to date.  The next release in the compilation series – released on July 6th – will celebrate the country’s West Coast experimental scene, with a collection dedicated to Perth.

Emily Grantham Podcast

Wood & Wire artist Emily Grantham played a special live-to-air set on the New Weird Australia radio show on 15th March 2012, and talked about her work and future plans. The set featured four new tracks, not available on her Chocolate Syrup record – the second release on the Wood & Wire label. The interview and live set are now available as a podcast from New Weird Australia:

DOWNLOADNWA Podcast #25. Emily Grantham, Live-to-air Set & Interview

BOK Darklord, Chapter One

Wood & Wire’s third release, BOK Darklord‘s Lulu, is the second record from the pairing of Buttress O’Kneel and Lucas Darklord. The first chapter arrived in 2009, a track-by-track cover of Led Zeppelin’s fourth album, using no source-material but the original songs themselves.

Described as both “an extremity that will perhaps awaken the sleeping Rock Gods, dormant since Bonham’s untimely vomit-inhaling demise” and “a rock-purist’s worst nightmare, and a sample-police’s greatest dream”, download BOK Darklord‘s debut for free at Alias Frequencies.

Peon ‘Inter Alia’ (Wood And Wire)

Stream / Download.


Sleeve Notes.

Peon’s third release, Inter Alia sees Melbourne’s drumming duo hit the studio with Lloyd Swanton on both production and bass duties and the acknowledged doyen of the mixing desk, Casey Rice, looking after the sonics. This record documents a nexus, the coming together of the unadorned enjoyment of improvised sound with a leaner, song-like aesthetic. For two days, the team holed up in Headgap Studios, they searched, they found. Seven pieces that tessellate intriguingly to make a whole.

Music for the hipster’s fallout shelter.

“a masterful piece of largely-percussive improvisation, that ebbs and flows, rising up majestically and then quieting back down to a brooding mess”
Life Is Noise

“…labels aren’t that important to Peon; they’re just keen to make striking atmospheric experimental music with a groove. It’s all about mood for these guys, and they maintain it effortlessly without forgoing their roots.”
The Music

“Fusing jazz improv and almost subliminal electronic manipulations with ritualistic rhythmic patterns, Peon create a sinuous sojourn through the echoing halls of psych mantra”
Sonic Masala

“Fascinating electro acoustic sounds from Melbourne act Peon, who are part of new experimental label Wood and Wire. Co-produced by Lloyd Swanton of local improv legends The Necks, this could be the start of something good.”
Bandcamp Hunter 

“an improvisation-based album that is both foreboding yet familiar … ‘Selva’ contains warm drone synths not dissimilar to the sounds conjured up by Boards of Canada or Crystal Castles with a whole suite of scattered percussion strewn across the track …an ideal winter album for days spent indoors”
Cyclic Defrost 


Realising that drummers share a unique (sometimes monosyllabic) language of their own. In mid-2010, Sam and Ronny decided to set their drums up in the same room and see what transpired. The drums (as they are wont to do) birthed all kinds of melodic possibilities in their collective brain. These melodies found a natural home on other exotic instruments.

Peon prioritise the transcendent moment but refuse to bottle it for later use, making every iteration right for that moment.
An informed post-rock improv agenda powers the Peon machine, strictly no re-hashing or copping out from where it needs to be. Maximal hypnoticism for those who crave it.

Peon have toured around Australia, released two records, have collaborated with Lloyd Swanton, Miroslav Bukovsky, Casey Rice and are releasing their third and most accomplished recording to date ‘ ‘Inter Alia’ on Wood and Wire.

Peon on Soundcloud
Sam Price & Peon on Bandcamp


1. No Second Acts (03:39)
2. Distension (08:51)
3. Selva (04:11)
4. Slinky (06:05)
5. Life Coach (08:24)
6. Modern Music (06:18)
7. Io (11:07)


Sam Price ‘ drums/laptop/synths
Ronny Ferella ‘ drums/melodica/ngoni/analogue effects
Lloyd Swanton ‘ contrabass, tracks 6 & 7 (Double bass made, and kindly loaned, by Benedict Puglisi)
Production ‘ Lloyd Swanton and Peon
Recording / Mixing / Mastering ‘ Casey Rice
Tracks 1-5 composed and performed by Peon
Tracks 6&7 composed and performed by Peon and Lloyd Swanton
Cover Photography by Lloyd Swanton

Catalogue. WW1


VAGRANT #1 – Guerre, Scissor Lock, Major Napier

Intercess and New Weird Australia present


MAY 31ST 2012
SERIAL SPACE, Chippendale, Sydney

Our open-source gig series VAGRANT began in Sydney on May 31st 2012 – with a show celebrating the launch of the new label, Intercess. Founded by Marcus Whale (Scissor Lock, Collarbones), Intercess releases new collaborations several times a year on limited edition CD-R.

The first Intercess release featured two Sydney artists: haunted R&B heartbreaker GUERRE (Lavurn Lee) and Marcus’ SCISSOR LOCK project. Joining them at the launch at Serial Space in Chippendale was New York’s EXPENSIVE LOOKS, out in Australia fresh from the release of his debut album “Dark Matters” on Group Tightener. Opening set from MAJOR NAPIER, who featured on the New Weird Australia ‘Vox’ compilation.

New Weird Australia vs Fallopian Tunes, Gloss & Moss

Stream / Download.


Sleeve Notes by Stuart Buchanan, New Weird Australia:

Finding Fallopian Tunes’ early release ‘Berlin Mixtape‘ was nothing short of a godsend.

Hunting down music to play on the weekly New Weird Australia radio show is never a chore, the hunt can be both exhilarating and frustrating. Yet, finding one relevant new release may take hours, and only yield a single track. Hence the night when ‘Berlin Mixtape’ was discovered remains firmly etched in memory – sixteen tracks of new, eclectic and experimental Australian music, and all of them gems. The concept seemed eerily, and generously, familiar. Naturally enough, the mixtape received a ritual flogging on the radio show – I simply couldn’t get enough of it – and it also conveniently led to the first release on the then nascent label, the stunning debut from Yolke, titled Poppy Wash. Yet, at the same time led nowhere – Fallopian Tunes had no web site, and little web presence – which, contrary to what a manager might tell you, simply added to the allure of the label.

Many months later, we finally met each other virtually, complemented each other for our respective output, and danced around the idea of perhaps linking arms and working on a shared release. ‘Gloss & Moss’ is the result: 22 tracks, 11 a-piece, representing precision and imprecision – controlled chaos and chaotic control. In splitting hairs over definitions, this ‘Australia Mixtape’ has both its cake and devours it – we can pay attention to the difference, or ignore it all together. Like Fallopian Tunes and New Weird Australia, it’s two sides of the same coin – a collection of exceptions that prove the rule.

Sleeve Notes by Mat Spisbah, Fallopian Tunes:

The idea of Gloss & Moss had seduced me from the beginning; two texturally different sounds with a similar headspace between them. When Stu and I first started talking about this compilation, a whole host of different ideas came up – synthetic nature, granular treetops etc… It was always going to be interesting collecting the sonics for it.

Its hard to really call anything on this compilation experimental music, all the artists have their shit locked down and know exactly what their doing. The experimenting is done well before anything is made. But all the same, experimental music in Australia is starting to gain a foothold and it’s exciting to see the scope of different things people are doing.

This collection of tracks really brings the assorted flavours of what people are up to in and around Australia and the little soundworlds they create for themselves. Everything from glacial ambience to typewriting textures is represented here, its a small cross section of the lush pool of ideas floating around the Ausmos (Australian cosmos).


Gloss‘, compiled by Mat Spisbah for Fallopian Tunes

1. Kristian M Roberts, Marble Music (6:10) (previously unreleased)
2. Bad Bones, Breaksface (0:58) (previously unreleased)
3. Simon Gardam, Silverconstruct (2:22) (previously unreleased)
4. Trjaeu, Glass Map (2:12) (previously unreleased)
5. Jacob Silver, Ambulacra (3:34) (from the EP Trillions,self-released)
6. WORNG, HipsterPride (5:44) (previously unreleased)
7. Matthew Brown, Kanaplila (8:56) (from Matthew Brown at Sabbatical’s Labour Day Weekend, self-released)
8. Document Swell, Rainforestation (4:28) (previously unreleased)
9. Exotic Snake, Now Lets Sing It Again (4:27) (previously unreleased)
10. Yolke, Perfect Burn (2:41) (previously unreleased)
11. Jonathon Nokes, Fantasy 001 (5:11) (previously unreleased)

Moss‘, compiled by Stuart Buchanan for New Weird Australia

12. Infinite Decimals, 0.00801066 (5:28) (previously unreleased)
13. Stag, Seriously (1:52) (from the EP Get Used To It, Disembraining)
14. Mere Women, Amends (2:38) (from the forthcoming album Old Life, Tenzenmen)
15. Secret Birds, Black Teeth (8:26) (previously unreleased)
16. Wild Dog Creek, Abacus (4:05) (previously unreleased)
17. Penguins, Beyond The Pale (3:14) (previously unreleased)
18. David Evans, Typewriter Demo 1A (4:09) (previously unreleased)
19. Jusgo Mosh, Hyper Youth (5:33) (from the album Disillusioned Punks Fall Into An Infinite Jazz, self-released)
20. Admin Bldg, Bldg A Bldg (4:05) (previously unreleased)
21. The Roost of Auteurs Soon Eligible for Parody, Paddington’s Song (7:00) (from the album Leaving, Etch Music)
22. Barnaby Oliver, Met on a Sunday (3:36) (previously unreleased)

Artwork by Omar Mashaal,


Gloss & Moss is the product of a kind of Omnivorous Experimentalism that, it seems to me, is increasingly prevalent these days, not just in Australia but just about everywhere with the luxury of a broadband connection. Because the vast data sea doesn’t just need curation; it also invites exploration and exposure to the new and different. And this exploration, it turns out, is something that can be curated too. Where some might regard the sort of eclecticism I’m getting at here as simply a lack of focus … I tend to think of it as precisely the reverse. Gloss & Moss, as with so many of New Weird Australia’s releases, is focused precisely on the strange and eclectic. You could say the same about this website actually. Omnivorous Experimentalism — the capitals here are deliberate; they’re intended to suggest something like a genre — is virtually its modus operandi.”
Tiny Mix Tapes, August 2012 

“The recent Gloss and Moss compilation by Fallopian Tunes and New Weird Australia shows just how rich and diverse our experimental electronic music scene has become. It is, if you’ll forgive a little editorialising, an essential (free) download.”
The Thousands, July 2012

“Every other month or so the avant-garde program New Weird Australia releases a compilation of tunes … Each collection is a gilt digital artifact of fresh composition, edgy-yet-accessible aesthetics, and solid cultural ambassadorship. For the latest compilation—called Gloss & Moss—NWA teamed up with a similarly Down Undered DIY electronica label, Fallopian Tunes. The team present starkly different sides of the continent’s underground music scene. The first half belongs to Fallopian Tunes, which chose eleven tracks of smooth ‘n’ throbbing bedroom electronica of various stripes. Although many of the featured artists operate in familiar genres—glitch, trance, beat tape—many songs are bolstered by found sounds and surprising noise samples … New Weird Australia curated the second half of the compilation … You’ll hear fuzzed-out dream pop, trudging kraut, and slow Eastern-influenced psych rock (a la Grails) … it goes without saying, you should download the entire New Weird Australia and Fallopian Tunes discography. Like, yesterday.”
Reviler, June 2012

“The latest New Weird Australia compilation sees the weird ones pairing with one of my favourite local labels Fallopian Tunes to assemble a zesty sonic soup of experimental and psychedelic sounds. Great to hear new stuff from favourites like Yolke and TRJAEU, and to discover very cool acts like WORNG and Secret Birds. Go do some discovering yourself, it’s a free download.”
Bandcamp Hunter, June 2012

“Absolutely unmissable compilation”
INQ Magazine, June 2012

Catalogue. NWA013 / FT09

New Weird Australia, New Editions Sampled

Stream / Download.


Sleeve Notes:

In August 2010, New Weird Australia launched its first label – titled ‘New Editions’ – an imprint focusing on single artist releases.

Unlike the download-only compilations, New Editions releases were  available in two formats: a high-quality digital release (priced as a ‘pay what you like’ model) and in a run of limited-edition CDs available from artist shows & NWA events.  Over an 18 month period, New Editions released albums and EPs from CAUGHT SHIP (Melbourne), BLAKE FREELE (Sydney), PANEYE (Sydney), TANTRUMS  (Melbourne), NO ZU  (Melbourne), KRIS KEOGH (Darwin), FORENZICS (Sydney), SPARTAK (Canberra), THOMAS WILLIAM VS SCISSOR LOCK  (Sydney) and STRANGE FORCES (Brisbane).

This compilation celebrates the conclusion of the New Editions project, combining a track from each release with unreleased and rare material from many of the artists involved.


1. CAUGHT SHIP Before Now I Was Convinced (from ‘Start Dencing Dad Start Dencing‘) 06:17
2. BLAKE FREELE Bitter Some (from ‘Pins‘) 08:41
3. PANEYE She Swallowed My Days (from ‘Lost In A Dark Aquarium‘) 02:03
4. TANTRUMS Anomie (Collarbones Remix, from ‘Anomie‘) 02:25
5. NO ZU Acropolis (from ‘New Age EP‘) 05:04
6. KRIS KEOGH As Meteor Showers Melted Your Heart (from ‘Processed Harp Works Volume One‘) 02:16
7. FORENZICS Dub Scab (from ‘Build Ruins‘) 05:06
8. SPARTAK Rail Star Mode (from ‘Nippon‘) 05:47
9. THOMAS WILLIAM VS SCISSOR LOCK Cadillic (from ‘Jewelz‘) 05:12
10. STRANGE FORCES Hungry Ghost Nation (from ‘Strange Forces‘) 07:15

Bonus Tracks:
11. CAUGHT SHIP Headphones (previously unreleased) 06:10
12. BLAKE FREELE Cheyne Stoking (previously unreleased) 09:20
13. PANEYE The Gummi Bears of Failure (previously unreleased) 02:09
14. NO ZU Tattooed Head (from ‘Tattooed Head’ single) 07:41
15. KRIS KEOGH As We Held Our Hidden Hopes Up To the Stars (from ‘Wormwoodstock 2012′) 04:06
16. FORENZICS Another Newer Nature (previously unreleased) 13:04

Compiled by Stuart Buchanan.
Artwork by Heath Killen.
Released under a Creative Commons licence (Attribution Non-Commercial No Derivatives)


“New Weird Australia brings a sampling of material previously released on their New Editions imprint along with some rare/unreleased material from artists in their camp. It’s a varied and wonderful listen of sounds covering a wide range of ideas, styles, and moods. Sonic experimentation at it’s finest, both in creation and in experiencing.”
Magicore, May 2012

“This is the music you won’t find on iTunes – New Weird Australia float our boat. They’re a bunch of menaces who love going to the end of music. New Weird Australia have a compilation they’ve curated called New Editions, its a bunch of rare and unreleased material from many of the musos and artists who turn them on.”
Something Else, May 2012

Catalogue. NWA011

New Weird Australia Live Recording Series (Free Music Archive)

New Weird Australia has released a series of archive live recordings, exclusively via the Free Music Archive. The free download recordings, dating back to 2010 and 2011, are culled from New Weird Australia events staged during the period, and feature exclusive work from Ambrose Chapel, Axxonn, Forenzics, Scattered Order and Stitched Vision.

The Free Music Archive is an interactive library of high-quality, legal audio downloads, directed by WFMU, the most renowned freeform radio station in America. Inspired by Creative Commons and the open source software movement, the FMA provides a legal and technological framework for curators, artists, and listeners to harness the potential of music sharing.