On this week’s Out From Under, two Australian artists working at the fringes of popular music; both on radically different musical trajectories, but nonetheless equally compelled by a deep desire to protect their own creative freedom. We hear from Via Tania, who discusses her twenty year career, playing with artists such as Prefuse 73, Tortoise, Marcus Popp and Jori Hulkonnen, and weaving her way from nineties grunge, through alt.jazz and Finnish techno to her recent work with a Chicago orchestra; and we talk to Sydney producer Ghostgirl, as she embarks on a spiritually-rich electronic project, inspired by a chance encounter with two rookie soldiers on Chat Roulette.
On this week’s Out From Under, I feature two artists pushing back against the tyranny of the machine in electronic music – capturing inputs and processing outputs in ways that rely less directly on spending face time with the laptop screen. Alex White talks about Nadir, his noise collaboration with Ben Byrne, which rejects dark, power noise in favour of a light and bright counterpoint; and jazz musician Jacques Emery discusses the wide range of electronic output on his Sounds Are Sounds label, all of which favour art over craft, and – much like jazz – focus on a constant refinement of improvisational practice.
Episode 3 of Out From Under is the first of a regular playlist series featuring newly released Australian eclectic and experimental music. In this episode we hear tracks from Fatti Frances’ latest project V/A; LUCIANBLOMKAMP in a remix by Marcus Whale; debut releases from The First Baboon Civilisation and HVISKE; soundtrack work from Karli White and The Vainglories; plus music from Mollusc (pictured), Ela Stiles, Exotic Snake and the new solo release from The Night Terrors’ Miles Brown.
Out From Under is a weekly exploration of eclectic and experimental Australian music, presented by Stuart Buchanan. This second episode features an interview with renowned Australian improvisational trio, The Necks – celebrating the release of their new record, ‘Vertigo’, and their current 30th anniversary tour, which takes in Europe and North America over the next two months. Chris Abrahams and Tony Buck discuss their wholly-improvised live shows and their approach to studio recording, plus there’s music from ‘Vertigo’ and their 1989 debut ‘Sex’, along with unreleased music from both Chris’ upcoming solo album on Room 40 and the new album from Tony’s collaborative project, Circadia.
Eclectic and experimental Australian music, presented by Stuart Buchanan – weaving documentary stories and interviews with new music specials and live performances.
In this first episode, we take a deep dive into ‘Pretty Gritty’ – an intimate experimental music event in Sydney’s Redfern district, where you’re greeted at the door with delicious home baking and a warm welcome from curator Gail Priest. Plus, interviews and music with three artists from the most recent ‘Pretty Gritty’ event – 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.
This week marks the end of the first season of Repercussions, and we return to the theme of the first episode with another selection of touchstone moments in electronic and dance music history. From an opening salvo by New York producer Joey Beltram, through to a closer from Bjork, I select tracks from artists such as The Orb, LFO, Daft Punk, Autechre, Altern-8, Chemical Brothers and Aphex Twin, and revisit an important moment in Australian dance music, from Itch-E & Scratch-E.
In this episode of Repercussions, we rewind back a quarter of a century to 1989, to a time that is known as ‘the second summer of love’. The first summer of love was back in 1967, when thousands of people migrated to San Francisco for a wild psychedelic ride fuelled by sex, drugs, politics and rock and roll. The second summer swapped the rock and roll for rave; and the rise of house and techno reached a tipping point, summoning hedonistic love and public condemnation in equal measures.
In 1996, 24-year old producer Josh Davis delivered an album that would transcend its origins within the hip hop community to become one of the most revered and most referenced records of its era. Endtroducing was the debut full-length release for Davis under the alias DJ Shadow, and it was famed for the fact that not only was it made from almost 100% sampled content, it also hung together beautifully as a cohesive and forward- thinking piece of work. In this episode of Repercussions, I’m joined by creative producer Jain Moralee and writer Kate Hennessy to discuss the impact and legacy of this classic album.
If the 1950s was all about teenage rebellion and rock’n’roll, the 1960s took things to the next level – a decade of wild experimentation, free expression and the birth of counter culture as we know it today. The implications of all these things on music was of course profound – but whilst The Rolling Stones and their ilk were all riffing off old blues records, the 1960s was the decade where electronic music came into its own. In this episode of Repercussions, Stuart Buchanan revisits some of the important electronic records of the era, tracing the journey from musique concrète and tape loop experiments, to sci-fi classics and psychedelic freak-outs, via artists such as Delia Derbyshire, Morton Subotnick, The Beach Boys, John Cage, Steve Reich and more.
Celebrating the 20th anniversary of its release, this episode of Repercussions looks back at the debut album from Underworld Mark 2, Dubnobasswithmyheadman. Often cited as one of the most important dance records of all time, it came after over a decade’s worth of failed attempts by Rick Smith and Karl Hyde to make an impression on the music industry, coupled with mounting debts and doubts about their future. A chance meeting with17-year old DJ Darren Emerson changed all that, pushing the band in a new direction that met with both critical and commercial acclaim worldwide. In this episode, we hear tracks from the freshly minted remaster of the classic album, along with unreleased material from the new deluxe edition box set.
On October 13th 2014, the electronic music world lost one of its pioneers – at the age of only 43, producer Mark Bell, co-founder of Warp Records’ duo LFO, passed away. Bell was also a prolific producer and remixer outside of the LFO camp, most notably contributing production for seven Bjork‘s albums over the last fourteen years. To celebrate Warp Records’ 100th release, the label released the compilation ‘We Are Reasonable People’, featuring a track from Mark Bell titled “A Salute To Those People Who Say Fuck You”. By way of our own salute to Bell, on this week’s Repercussions we feature a selection of artists that operated within Bell’s orbit and who, most importantly, were people who took great delight in saying ‘Fuck You’.
Flaunting a visceral, psychedelic blend of alternative hip hop, Young Fathers pole-vaulted into popular consciousness earlier this year, with their debut album Dead, released on Big Dada and Anticon. In this episode of Repercussions, Alloysious, Kayus and G from Young Fathers join Stuart Buchanan to share some of their musical influences past and present, and talk about the reaction to their debut, their recent Mercury Prize nomination and their plans for the future. From South African electro and Ghanan dancehall, to Lee Scratch Perry mixing Bob Marley and Iggy Pop going Nightclubbing, Young Fathers share an upfront selection of wild vocalists and rawkus beats, exclusively on Repercussions.
Released in 1994, and following a slew of disturbingly warped and frenetic experimental techno releases, ‘Selected Ambient Works Volume II‘ was not the record that everyone expected. In this episode of Repercussions, Stuart Buchanan is joined by Peter Hollo from FBi’s Utility Fog to listen back to classic cuts from the record, and to attempt to unravel why the work was loved and loathed in equal measure, and why it remains such a seminal piece of electronic music history.
Falling out of scenes such as UK garage, hip hop and drum and bass, Grime rose to prominence in the early 2000s, headed by a raft of soon-to-be-famous MCs such as Dizzee Rascal, Tinie Tempah and Tinchy Stryder. Although often dubbed “a London thing”, Grime has spread internationally over the last decade, and its sound has also developed well beyond its roots – coming to a head over the last two years with a new wave of producers creating, what has been broadly dubbed as, ‘instrumental grime’. On this week’s Repercussions, Stuart Buchanan takes a survey of the scene from a number of players including Slackk, Samename, Mssingno, Rabit, Moleskin and Murlo, and investigates Australian connections from producers Strict Face, Arctic and Dellity.
99 Records was a label run out of New York’s West Village in the early 1980s which, over its brief and troubled lifetime, blended the aftershock of punk with disco, dub, funk and proto hip-hop in a catalogue that includes some of the most influential records of the era – records that would have a lasting and profound impact on artists such as LCD Soundsystem, Carl Craig and Optimo, and was a critical inspiration for DFA Records. In this episode of Repercussions, Stuart Buchanan rewinds through 99 Records release slate, featuring Liquid Liquid, ESG, Bush Tetras, Maximum Joy, Y Pants and more.
20 years ago this month, Portishead released one of the defining records of the 1990s, their debut album ‘Dummy’. Blending hip hop, turntablism and samplology with downbeat jazz drums, electric guitar, dub bass and the unique vocals of Beth Gibbons, the result is an album that, despite its ‘trip hop’ tag, has stood the test of time with remarkable rigour. In this week’s Repercussions, Stuart Buchanan revisits ‘Dummy’ via a selection of album tracks, b-sides, live versions and original sample sources; and we hear Portishead on remix duties for Massive Attack and UNKLE.
In the run up to the release of their third album The Worry, Sydney trio Seekae visit Repercussions to curate a selection of eclectic tracks that have influenced their work to date, including music from Shed, Benge, Flash And The Pan, The Reels, Roxy Music and more. They also discuss the making of the new record, their favourite Seekae remixes and their plans for 2014 and beyond.
This week’s Repercussions takes former FBi Album Of The Week artist FKA Twigs as a jumping off point to explore the expanding world of experimental R&B – an amalgam of commercial R&B, pop and soul, blended with experimental production and off-kilter sounds. We kick back to 2006 with Cassie, before winding forward to recent productions from artists such as Dean Blunt & Inga Copeland, Kid A, Phlo Finister, Kelis, SZA and Jessy Lanza; and uncover Australian contributions from Fatti Frances, Oscar Key Sung, Guerre and Black Vanilla.
Can were without doubt one of the most original and influential bands of the 1960s and 1970s, bridging electronic music, jazz, rock and classical with a wild, experimental approach to emerging electronic production techniques. The resulting sound – dubbed ‘krautrock’ by the British music press at the time – is a body of work that reverberates through the music of Portishead, LCD Soundsystem, Factory Floor, Kanye West and many more. In this episode of Repercussions, Stuart Buchanan takes a dive into their extensive back catalogue, via edits from a rare 2004 FBi interview with Irmin Schmidt, and brings the story up to date with remixes from Carl Craig and UNKLE, plus new work from two Can founders in their Cyclopean guise.