Various – ‘Marks Of Provenance II’ (Provenance)

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The second annual Provenance free label compilation, ‘Marks Of Provenance II’. Features exclusive, unreleased music from Aphir, KAIA, Medicine Voice, Arrom, Lortica, Kris Keogh, Shoeb Ahmad and Brute Canon.


1. Arrom – Now Won
2. Medicine Voice – Shatter Shudder
3. Kris Keogh – Stolen
4. Brute Canon – Help Me Please You
5. KAIA – Mind Full
6. Aphir – Asymptote
7. Shoeb Ahmad – Skating On The Way
8. Lortica – Home Blue
9. KAIA – Praey


Catalogue. PR014

Medicine Voice – ‘PRELUDE / the ouroboros of heartswin’ (Provenance)

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Ouroboros is a Greek word meaning “tail devourer”, and is one of the oldest mystical symbols of transformation, in the world. It can be perceived as a serpent enveloping itself, where the past (the tail) appears to disappear but really moves into an inner domain or reality, vanishing from view but still existing.

PRELUDE is the ouroboros of Heartswin, the former designation for Sar Friedman, the antecedent of Medicine Voice. It is a record that doubles as the final chapter of this mythological journey, ending at the beginning, the ancestral foundations of the 2016 Medicine Voice album I And Thou.

Says Sar: “Prelude is very much a catharsis.. it’s all come full circle…endings and beginnings.. endings as beginnings… sanctifying the cyclic nature of all things… it’s been important for me, on many levels, to properly release these songs … a gesture of completion, to honour the once-upon-a-time moments & people that so powerfully shaped the ‘heartswin-medicine voice’ mythos … to send my love and gratitude…. and also to set myself free again….”

We start in Seattle and an introduction from Oren Ambarchi leads Sar Friedman to the venerable Randall Dunn (Sunn O))), Boris), who produces three of the tracks on this EP. Surrounding Sar are an outstanding collection of players: Don McGreevy (Earth), Milky Burgess (Marissa Nadler, Master Musicians Of Bukkake) and Hans Teuber; a shared experience that triggered the earliest moments of metamorphosis into Medicine Voice.

We end in London, with the epic 18-minute work Tammuz, recorded a year earlier and here signalling the culmination of an eight-year life in the city. With contributions from Joe McKee (Snowman) and Olivia Chaney (Zero 7), Tammuz is a farewell, a shedding of skin, another ending precipitating a beginning.

PRELUDE is the ouroboros of heartswin: creation out of destruction, rebirth out of death. Prelude eats its own tail to sustain life, freeing the old to make way for the new.


Medicine Voice is Sar Friedman from Sydney.

Sar Friedman has been singing, recording and touring in various bands and experimental groups for over a decade – most notably serving time in Stephen McBean’s Pink Mountaintops, Leopard Leg, Melodie Nelson and known also for her solo work under the name of Heartswin.


1. 366 (2:25)
2. Roar (4:40)
3. Bombshell (4:07)
4. Tammuz (17:55)


Tracks 1-3:
Musicians: Sar Friedman, Don McGreevy, Milky Burgess, Hans Teuber
Produced by Randall Dunn
Recorded at Avast Studios, Seattle 2011

Track 4:
Musicians: Sar Friedman, J Milo Taylor, Serafina Steer, Olivia Chaney, Joe McKee, Cecil Cuthbertson
Produced by Sar Friedman and J Milo Taylor
Recorded at Suborg HQ, London 2010

Mastered by Joe Talia
Cover Painting by David Asher Brook

Catalogue. PR013

Arrom – ‘Take My Lymphs’ (Provenance)

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As Arrom, Melissa Vallence combines poetic dream-pop with ethereal vocals and dark, organic electronics. Although she has performed as a choral singer throughout her life, she only began producing and writing her own work three years ago. Take My Lymphs follows a run of inaugural live shows throughout 2017, and a collaboration with Melbourne producer Hypersleep on the track Charcoal.

The songs on Take My Lymphs were originally intended to be exclusively a capella works, but over time, Arrom layered in additional production components, slowly nurturing the songs into existence, one beat or synth line at a time. 

Arrom notes: “My taste is so varied that I had no idea originally where the record would end up. I like music that is lyrical as much as that which is abstract and disjointed. I love folk and choral music as well as dirty industrial beats and huge kicks.”

Take My Lymphs thus features much of Arrom’s earliest work and are a callback to her youth, dealing with displaced passion and an in-built stubbornness to hold onto detrimental and unsatisfying facets of life. The title track reflects this idea, asking whether the various pressures we experience day-to-day can ever truly be in harmony with concepts such as love and freedom.

The body is also a recurring theme on the album, exposed nerves, lymph nodes, the sensation of touch, the limitations of the mind. “In the end the album is a sort of manifestation of my coming to terms with my own limits”, says Arrom, “the physical limits of my body, the line between fantasy and reality in my mind and how and where the rest of the world fits into all of that.”


Arrom is the solo project of Melbourne based songwriter and producer Melissa Vallence. Arrom combines dream-pop-electronics with intimate poetry, ethereal choral undertones and industrial electronic beats.


1. Stardust 02:33
2. Split Caress 05:02
3. Covers 04:27
4. An Interlude 04:19
5. Bay Tree 02:52
6. Take My Lymphs 02:52
7. Crave Pressure 04:22
8. See How 07:15


Written, produced and mixed by Melissa Vallence
Except Stardust & Take My Lymphs written and produced with, and mixed by, Andrew McEwan; Split Caress mixed by Todd Proctor.
Mastered by Rebecca Whitton
Artwork by Caitlin Dennis

Catalogue. PR012

Fat Planet – Sudan Archives [U.S.] Interview

Fat Planet’s Stu Buchanan talks to violinist, vocalist and producer Sudan Archives about the journey of discovery that led to her unique blend of African classical sounds, cutting-edge R&B and freewheeling electronics. We also hear an unreleased live recording of her Kendrick Lamar cover, ‘Queen Kunta’. Her debut self-titled EP is released via Stones Throw.

First broadcast on Double J, 30 August 2017.
New episodes every Wednesday at 8pm AEST.

KAIA – ‘KAIA’ (Provenance)

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The self-titled KAIA EP is the debut long-form release from the Canberra-born; Melbourne-based emerging dream pop producer.

The EP is a deeply personal journey in which KAIA confronts her disillusionment with, and departure from, organised religion, and examines the abiding wounds that result. Underscored by electronics that push and pull at both ends of the experimental pop spectrum, and including two collaborations with label mate Aphir, the EP is a truly unique debut from a singular talent.

KAIA notes: “The overarching theme of the EP is the search to replace that holy figure with something else and the realisation that all there is, is you.”
The passage between two worlds, and the bittersweet acceptance of a new reality, is mirrored by contrasting dark and light elements throughout the record. The production also reflects the tension and contrasts of the overall theme, often uncomfortable and unsettled, with vocals sampled and chopped to create glitch textures and additional altered vocal sampling, standing in for synths and other rhythmic elements.

“Leaving the cult I was raised in and still being tied by unrequited love to my (still practising) family members who brought me to that place allows complex emotions to flourish. Simply: there is love, but there is also resentment. Nobody comes out unscathed.”


KAIA is a Canberra-born, Melbourne-based emerging Dream Pop producer that lived her first 17 years in a cult that believes all world governments are under Satan’s control and condemns oral sex. This antithesis of a stable adolescence shaped KAIA’s sound – an alloy of sweet and sincere vocals and lyrics, wrought by extraordinary self-production.

KAIA’s incredibly layered vocals and melodies explore the depths of her upbringing and transition into adult life, just breaking through the surface when her peers had already reached shore.

KAIA is the Sirens’ song heard by the sailors in Homer’s Odyssey – lured into shipwreck, before being devoured moments later.


1. Pay No Praise 02:18
2. Know Myself 03:15
3. Strange 03:18
4. Underclouds 04:05
5. Bosca 03:12
6. Abstract Truths 02:15


Written & Produced by Karla Gilbard
Except ‘Know Myself’ – Written & Co-produced by Becki Whitton; ‘Underclouds’ – Written by Becki Whitton
Artwork by Jessica Cochrane

Catalogue. PR006

Aphir – ‘Can’t Comfort’ (Provenance)

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Aphir closely follows the release of her 2017 album Twin Earth with a new, non-album cut, Can’t Comfort backed by remixes from Provenance label mates, KAIA and Arrom.
On Can’t Comfort Aphir notes: “I feel that a lot of people, young women especially, are taught that sometimes you have to exhaust yourself looking after other people before you’re allowed to look after your own needs, and this song is a rejection of that”.


Aphir is the solo electronic project of songwriter and producer, Becki Whitton.
As Aphir, Becki has performed her glitched-out vocal soundscapes around Australia and internationally, including her performance at Berlin’s 2016 Music Tech Fest. Her work with indigenous singer/songwriter, Denni, saw her take to the main stage at the 2015 Falls Festival.
Aphir’s 2017 record for Provenance, ‘Twin Earth’, sees the firm foundation of her layered vocal arrangements inflected with luminous alien samples.


1. Can’t Comfort 03:27
2. Clone (KAIA Remix) 03:01
3. Too Well (Arrom Remix) 04:41


All tracks written and produced by Becki Whitton
‘Clone’ Remixed by KAIA
‘Too Well’ Remixed by Arrom
Artwork by Anna Mayberry and Hannah De Feyter

Catalogue. PR011

Fat Planet – Noga Erez [Israel] Interview

Fat Planet’s Stu Buchanan talks to politically charged Tel Aviv artist Noga Erez on the release of her debut album Off The Radar.

First broadcast on Double J, 31 May 2017.
New episodes every Wednesday at 8pm AEST.

Kris Keogh – ‘Processed Harp Works Volume 2’ (Provenance)

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Influenced as much by Debussy as Atari Teenage Riot, Processed Harp Works Volume 2 is a series of ten micro-sculpted sound worlds, written, played, recorded, mixed and arranged by Kris Keogh in his home studio.

It was inspired by two simultaneous life-changing events – the birth of his daughter and the death of his father. Kris describes his feelings at the time as “intense joy and crippling sadness, all combined, all at once”, and he made the album as a way to express those feelings through music. Thus, Processed Harp Works Volume 2 is an elegy, but also a fantasia – a gift to anyone needing a space to listen, to reflect in, to escape to.

Kris notes: “Everything I make is about juxtaposition, about creating something unexpectedly cohesive from seemingly opposing sources, from polar extremes. These extremes are ingrained at nearly every level of this album.

“It’s the contrast of a gorgeous, acoustic instrument with the heavy digital audio processing that it is transformed by. It’s making music that is happy and sad at the same time. And it’s making music that works well as both an ambient background for the casual listener and an intense sound experience for those willing to climb in and really pay attention.”

The follow up to the 2011’s Volume 1 (released by New Weird Australia), the album was recorded in Kris’ home town of Nhulunbuy, in Arnhem Land, in Australia’s Northern Territory (1,043km by road from the nearest city of Darwin). It was made entirely by Kris playing harp through ‘Processed’, a self-made Reaktor ensemble, “designed by trial and error” over the last ten years. The software is included as a bonus download with the album – a gift from Kris for anyone interested in mutating and transforming their own musical ideas.

“The glitches marry organically to the harps strings, to produce work reminiscent of Japanese electronica pioneer Susumu Yokota … haunting, beautiful electronic symphonies.” Music NT

“Despite the digital wizardry, beauty and tenderness survive” Rave Magazine

“Every moment is compelling. Keogh’s sampling gives every moment of disconnectedness a heavy emotional charge” Come Into Land


Kris Keogh is an Australian musician and producer from Arnhem Land in the Northern Territory. He is intent making the most beautiful noise possible, any way he can.

Kris’ classical training sits happily at odds with his 18 years in the electronic underground. His well-loved electro-acoustic project, Blastcorp, spawned five albums of everything from “washing machine music to acoustic lovesongs” and led to supports with artists such as Diplo, Mad Professor and Regurgitator. The brief but beautiful collaboration Red Plum And Snow was followed by a hard-left turn into bass music, which saw Kris launch the ZZAAPP Records label and his Laptop Destroyer live persona.

Kris is also a co-founder of Happy Yess, a not-for-profit arts organisation and DIY music venue that exists to support original Darwin music.


1. Just Before Forever 05:55
2. Starlight, Splintered and Fell 04:08
3. Until Underneath Everything 01:27
4. Stillness 03:23
5. Dissolved / Detached 07:35
6. Moving / Melting 01:31
7. Never Unknowing 04:57
8. Breathing, But Breathless 03:18
9. Lost, Eventually 03:02
10. Endlessly Undivided 07:28


Written, played, recorded, processed, mixed and mastered by Kris Keogh.

Album artwork: ‘Blood-Crystals of Squirrel’ from ‘A Text-Book on Physiology: For the Use of Schools and Colleges’, published by Harper & Bros, New York, 1866. Image restoration by Nico Liengme.

Catalogue. PR010

Aphir – ‘Twin Earth’ (Provenance)

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The second album from Melbourne electronic producer Aphir, titled ‘Twin Earth’, is out now on Provenance on digital and limited run vinyl.

‘Twin Earth’ is the follow-up to her 2015 debut ‘Holodreem’ and furthers Becki Whitton’s commitment to exploring the outer boundaries of pop and electronics, as a writer, producer and performer. The release follows a summer of acclaim for Aphir, having been cited by triple j Unearthed as one of “the next generation that are following in Flume‘s footsteps”, and lauded by Purple Sneakers and Pilerats amongst others.

Thematically, the album embraces the concept of infinite parallel universes, albeit with a different spin from the usual sci-fi trope. Becki says: “As I was writing the album, I was thinking about the quantum physics theory of multiple universes, and the idea that each universe represents a different decision that you made. ‘Twin Earth’ is my variant of that idea – what if a new universe was created whenever someone formed a different opinion of you? Each version of ‘you’ would have its own narrative, based on the how others see you”.

With artistry and expertise far beyond her age, Becki has been releasing music under the Aphir alias since 2013. Over the last three years, she has worked alongside Andrei Eremin (Chet FakerHiatus Kaiyote and Miami Horror) and Tim Shiel (Spirit LevelGotye) and in 2016 was flown to Berlin to perform in the AUUG Motion Synth Showcase at Music Tech Fest.

Becki also collaborates with many other Australian artists, writing with Denniand KAIA (who will be releasing her debut EP on Provenance in 2017), mixing for Eilish GilliganAnatoleXylo Aria and Squidgenini; and mastering Yon Yonson and Sandy Hsu, as well as mixtapes for Wondercore Island and TEEF Records.

California-born and Melbourne-based artist Goodieprovides the original hand-painted artwork for the ‘Twin Earth’ album cover and has also created additional artwork for three of the album tracks. The Special Edition vinyl package includes one of the four prints, along with a Twin Earth zine created by Aphir.

“Equal parts Kate Bush and Bjork … but no-one currently comes close”  DIY Mag

“A true one-woman band wearing as many hats as she can … infuses the emotion of Lana Del Rey, the poise of Kelela, and the quiet confidence of Syd but emerges a sound that is all Aphir”  Purple Sneakers

“Immensely passionate and complex … Aphir is an artist to watch and support” The Ladies Network


Aphir is the solo electronic project of songwriter and producer, Becki Whitton.

As Aphir, Becki has performed her glitched-out vocal soundscapes around Australia and internationally, including her performance at Berlin’s 2016 Music Tech Fest. Her work with indigenous singer/songwriter, Denni, saw her take to the main stage at the 2015 Falls Festival.

Aphir’s new record for Provenance, ‘Twin Earth’, sees the firm foundation of her layered vocal arrangements inflected with luminous alien samples.


1. Powder Room 01:04
2. Likeness 02:58
3. Golden Child 03:28
4. No Muse 04:11
5. Meteors 03:37
6. Rorschach (Interlude) 02:28
7. Too Well 03:46
8. Go Lightly 02:30
9. Deeper In 04:02
10. Clone 03:38
11. Cotillion 01:17


Written, produced and mixed by Becki Whitton
Artwork by Goodie


The album ‘Twin Earth’ was released as WW9.
The single ‘No Muse’ was released as WW8.

‘Twin Earth’ Special Edition included: Limited run vinyl, individually lathe-cut by Small Run in Melbourne. Shipped with full-colour sleeve, housed in plastic outer + Zine, designed by Aphir, including lyrics to all tracks on the record and original artwork + Original art print from cover artist Goodie (print will feature 1 of 4 original artwork pieces created by Goodie for ‘Twin Earth’, randomly selected).

Various – ‘Marks Of Provenance I’ (Provenance)

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Marks Of Provenance I is the first label compilation from Provenance, featuring exclusive tracks unavailable on any Provenance release, from Medicine VoicePaneyeKAIALovely HeadSpartakAphir and Kris Keogh.


1 – Medicine Voice – Seven Moons / Meeting The Shadow
2 – Paneye – Blue Rows
3 – KAIA – Virgo
4 – Simo Soo – Dancer In The Dark (Lovely Head Remix)
5 – Spartak – Black Eye Trace
6 – Aphir – Cold Space
7 – Kris Keogh – Untold
8 – Lovely Head – All I Saw Was You (Dana Scully 1994 Remix)
9 – KAIA – iii
10 – Paneye – Remote Summer Cloud


Catalogue. PR003

Pretty Gritty – Of Most Excellent Provenance

Pretty Gritty #17 / Provenance
Sunday Dec 4, 2016

The final Pretty Gritty for 2016 teams up with the most excellent record label Provenance, the latest most excellent venture by the tireless Stuart Buchanan, to offer a small sampling of the most excellent stable of innovative altpopelectronicaambientdroneexotica.

In a split set (like a split album — it’s a new thing as of now) Lortica will morph himself into When We Never offering his hypertextured, super-psych drone dreamscapes. Hiking up the Hume from the ACT, Shoeb Ahmad will bliss us away with his shimmering guitar and spacey pop deconstructions. Finally Medicine Voice’s transcendent vibrations will send us into the sublime as she launches her hypnotic new single.

5.30pm-9pm, $12 full / $10 Concession
107 Projects, 107 Redfern St, Redfern

More info at

Photos by Sam James and Gail Priest.

Lovely Head – ‘Always’ (Provenance)

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Sydney solo artist Lovely Head returns for her first release on Provenance – the six-track experimental pop EP Always.  Exploring themes of tension, distance and lust, Always is a terse combination of desert guitar, misshapen beats and quiet longing.

The solo project of writer, singer, and producer Vivian Huynh (formerly of Sydney three-piece No Art), Lovely Head most recently collaborated with Pendant for the Pink EP, which received support from  tripleJFBi2SERPilerats and Purple Sneakers.

As a writer, Vivian’s recent work – exploring the dichotomy between her teenage love of “white male” indie music and the cultural expectations of her Vietnamese parents – was commissioned by the Tempered Journal and republished by The Guardian. Her work has also appeared in Sydney Morning HeraldThe ThousandsConcrete Playground and The Brag.

Growing up in Minchinbury, near Mount Druitt in Sydney’s outer west, family is a key focus for the EP, with half of the EP written while Vivian was coping with major loss in her life, and the rest completed as the fog cleared.  Indeed, the title Always refers to wishing for the idea of ‘forever’, but knowing there’s no such thing.

For Always, Lovely Head has continued with a minimal approach to her music, consciously looking for ways to remove elements from a song as it’s being written, to let it breathe properly, without fuss. Early riffs for the EP started life on a creaky ’80s Yamaha keyboard, one that Vivian’s uncle left behind when he moved out of the family home. The music was also mainly written and recorded in dining rooms, because – as Vivian notes – “it’s warmer there and the light is nicer”.

Always is out now on digital and super-limited lathe cut 10” vinyl, shipped with full-colour sleeve print.

‘Cinematic sparseness carried by a solid undercurrent of apocalyptic minimalism…’ –

‘Superb dark electro-pop from Lovely Head…Hissing sci-fi beats, sparse guitar and ethereal vocals conjure up a disorientating, blissful sonic brew.’ – Bandcamp Hunter

‘The more stripped back framework creates an even more powerful encounter.’ – Polaroids of Androids

‘It’s very sparse stuff, with diaphanous vocals and repetitive guitar lines over tentative drum machine. That just those few thin elements can hold our attention so wholly is testament to Huynh’s prowling delivery, which mingles shades of post-punk and shoegaze with a certain slow-burn pop mystique.’ – Mess & Noise


Lovely Head is the solo project of writer, singer, and producer Vivian Huynh (formerly of Sydney three-piece No Art).

Lovely Head uses conscious minimalism to explore themes of tension, distance and lust – a terse combination of desert guitar, misshapen beats, and quiet longing.


1. Where You Go
2. Show Up
3. Heartbreaks
4. Maybe This
5. Do You Want Me
6. Here With Me


Written, produced and mixed by Vivian Huynh
Mastered by Wade Gilmour
Photography by Jaclyn Paterson
Artwork by Kinal Ladha

Catalogue. PR007

Out From Under #25 – New music from My Disco, Garry Bradbury, John Chantler and more

Out From Under #25 is a mix of new music released in September 2016 featuring work from Severed Heads alumni Garry Bradbury and Room40 mainstay John Chantler; Regis takes on MY DISCO (pictured) in a remix for the Downwards label; Blake Freele & Sam Price drop a new collaboration; we tackle brute noise from Blut; and also hear new work from Panoptique Electrical, Pale Earth, Cooper Bowman, Harrow, H∃✖†⏄P∄, FATE ÆFFECT and Catfingers.

Originally broadcast on Resonance Extra, 22 September 2016.

Lortica – ‘Phellemens’ (Provenance)

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As Lortica, Sydney producer Alister Hill has been quietly creating beautiful soundscapes from the tired remains of old cassette tapes and found sounds. Manipulated live with a 4-track recorder and effects pedals, Lortica shows an understanding and respect for the genre within which he falls, but an irreverence for typical musical constructs. Following his debut album Mialle Tapes released on Phinery Tapes and Feral Media in 2014, Lortica has created a new tape-based method of composition incorporating dramatic digital manipulation contrasted with live tape dubs.

The resultant new album Phellemens was born from applying the analogue granular approach heard on Mialle Tapes to more traditionally composed structures. Using an omnichord, piano, synthesizer, samples and fabricated trombones, and combining extremities in digital and analogue pitching and stretching, each track was dubbed down to the Tascam four track and mixed in heavily effected, performative takes. Hill describes the process as “the most satisfying live performances I’ve experienced, playing to an audience of no one”.

Originally conceived with a vocal collaboration in mind, the album gathered dust for a year until Hill realised that the project held its own virtues, that were accentuated by the absence of voice. Phellemens is an attempt at capturing micro longing and disappointment; a series of studies in non-drama that reflect how personal shifts can feel flat and unnoticed, yet may resolve in grotesque shapes over time.

“Burrows into immersive calm textures, buried melodies and the filigree of the damaged tape tradition inspired by the likes of William Basinski, The Caretaker and Grouper” – Tomentosa

“Chaperons the listener on a foggy journey deep, deep down into sink holes of sound” – Tabs Out

“Mines a similar vein to Tim Hecker … evokes a lonely, vast space. Wind howls, ghostly unintelligible vocals appear and a post-apocalyptic isolation hangs” – Cyclic Defrost


1. Dogged Not Dead
2. Phellemens
3. FL II
4. Xenodone
5. Wan
6. Broken & Belled
7. Friendzone Deluxe (Bonus Track)


Recorded August 2015 / June-July 2016
Engineered, Mixed & Mastered by Alister Hill
Artwork by Alister Hill
Inspired by the interstitial.

Catalogue. PR005

Out From Under #24 – Scattered Order & M-Squared (Part II)

In the second episode of a two-part Out From Under special, I talk to Mitchell Jones; founding member of both seminal Australian experimental band Scattered Order and the early 80s record label M-Squared which balanced the prevailing sounds of post-punk with lo-fi punk electronics and experimental explorations from a close knit community of artists.

We hear from M-Squared artists Makers Of The Dead Travel Fast, Systematics and Ya Ya Choral, along with Prod, A Cloakroom Assembly and Solipsik, the offshoot of renowned Australian industrial group SPK. We also pick up the Scattered Order story following the demise of M-Squared in 1984, and hear about their journey through the 80s and 90s, heading to an unexpected reformation seven years ago.

Originally broadcast on Resonance Extra, 8 September 2016.

Subscribe to the podcast from FBi Radio

Out From Under #23 – Scattered Order & M-Squared (Part I)

Whilst the legacies of post-punk, DIY electronics and proto industrial are widely known and documented in the UK and US scenes, their impact in an Australian context is less widely recognised. Bonding over the discovery of Cabaret Voltaire imports in Sydney record stores, Scattered Order formed in 1979 and gorged on a wide range of inputs to create a sound and visual aesthetic that was unique in Australia at the time. Together they also formed the label M Squared and fostered an impressive roster of bands such as Makers Of The Dead Travel Fast, Systematics and Ya Ya Choral.

In Part I of a two-part interview, I talk to Scattered Order’s Mitchell Jones about the early years of the band and the formation and impact of the M-Squared label throughout the late Seventies and early Eighties.

Originally broadcast on Resonance Extra, 1 September 2016.

Subscribe to the podcast from FBi Radio

Out From Under #22 – Rand & Holland

Brett Thompson has been the guiding force in the Australian band Rand & Holland for nearly fifteen years, but its been a tumultuous and often torturous ride. Widespread love for their lo-fi folk debut led to a polished pop follow up that furthered their critical acclaim whilst also setting in place a chain of events that led to the band conducing an artistic volte-face. They recorded a dark, intense and experimental third album, polarising audiences at a short series of live shows before abruptly breaking up.

Four years later, in 2015, the fabled album posthumously saw the light of day, and in this episode of Out From Under, Brett Thompson gives a rare interview, explaining the background to the album and the breakup, and revealing that Rand and Holland is, in fact, far from over.

Originally broadcast on Resonance Extra, 25 August 2016.

Subscribe to the podcast from FBi Radio

Out From Under #21 – New music from Fia Fiell, ju ca, Wives, Bright Sea and more

In this week’s episode of Out From Under, we hear new music from Melbourne electronic producer ju ca; Canberra’s Wives get remixed by Enderie Nuatal; there’s two releases from Hyperborea and Fia Fiell (pictured) through cassette label Nice Music ; new work from Cold House member Morgan McKellar recording as Bright Sea, plus tracks from TEEF Records charity compilation ‘Imperium In Imperil II’ featuring Making, Hence Therefore and Tracy Chen.

Originally broadcast on Resonance Extra, 11 August 2016.

Subscribe to the podcast from FBi Radio

Out From Under #20 – Andy Rantzen & Jochen Gutsch (Hinterlandt)

On this week’s Out From Under, artists Andy Rantzen and Jochen Gutsch discuss their new collaborative project, which fuses Andy’s poetic spoken lyrics and Jochen’s diverse musical background, recording and performing as Hinterlandt. Highly conscious of the potential pitfalls of fusing poetry and experimental music, Andy and Jochen carve a path to an outcome that is tense and fascinating and compels you to listen close. We also hear music from Jochen’s Hinterlandt Ensemble and take in back catalogue work from Andy’s Pelican Daughters project.

Originally broadcast on Resonance Extra, 4 August 2016.

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Spartak – ‘I Fought The Style’ (Provenance)

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Since 2007, Shoeb Ahmad and Evan Dorrian have released numerous collections of tweakers rock, jazz abstraction and minimal electronics as Spartak on labels such as Low PointFeral Media and New Weird Australia, while performing around the country and taking in tours of Singapore, Malaysia and Japan alongside the likes of My Disco, Thomas William, Andrew Pekler, Lucky Dragons, Cuushe, Russian Circles, Omar Rodriguez-Lopez, Minamo, Mono/Poly, Shigeto, Gold Panda, Mark Pritchard and Container. Performances are always free-flowing interpretations of studio creations, using analog machines and live instrumentation to leave audiences engaged in a hypnotic state whenever they play.

At various intervals during their history, the duo have been joined live and on recording by bassist Matt Lustri (Cracked Actor), Rory Stenning (Raus, Cold Emotion) on synths and vocalists Joe McKee (Snowman), Lucrecia Dalt and Hannah Peel (The Magnetic North). With this open approach to collaboration, Spartak expands to a quartet on the upcoming i fought the style, to be released by Provenance in July 2016. Drawing on contributions from the talented Lustri, delicate vocals from Becki Whitton (Aphir), glitch pioneer Oval and Melbourne producer Kangaroo Skull (aka Rohan Rebeiro from My Disco), Ahmad entangles synthetic textures through Dorrian’s improvisational rhythms across this collection of digital ballads, fizzling ambience and futurist disco-pop.

“The dark vista they create fits in quite easily with the work of Australian contemporaries like Lower Spectrum or LUCIANBLOMKAMP, although, this being Spartak, they’re probably the most stylistically diverse of the bunch … there’s few styles Spartak have come against that they haven’t tamed and added to their repertoire.” – 4ZZZ


1 – Eulogist
2 – Seasonal
3 – Flags For An Organization
4 – Revisionist
5 – Maps Of The Sounds Of Tokyo


shoeb ahmad – electronics, programming, vocals
evan dorrian – drums, percussion, vocals
matt lustri – electric + bass guitar, dr rhythm
becki whitton – vocals

music spartak words ahmad
recorded brick lane, canberra
becki vocals recorded at home, melbourne
mixed the boulevarde, sydney

tracks 1, 3 & 5 produced by Shoeb Ahmad & Evan Dorrian
track 2 produced by Markus Popp
track 4 produced by Kangaroo Skull

Catalogue. PR004

Out From Under #19 – New Music from Scraps, Half High, Lortica and more

This week’s Out From Under is another in our new music playlist series, presenting a selection of underground and experimental work being made right now in Australia. We check out two compilations both surveying experimental electronic terrain – from labels Butter Sessions and Iceage Productions; music from two Canberra labels, Dream Damage and Moontown Records, featuring Danger Beach and Scraps (pictured); new releases from Sydney artists M.O.B. and Lortica; abstract sounds from Sam Filmer; and a new recording from Half High, featuring Lucy Phelan and Matthew P Hopkins from Naked On The Vague.

Originally broadcast on Resonance Extra, 21 July 2016.

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