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


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Notes.

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


Biography.

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.


Tracklisting.

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


Credits.

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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Notes.

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


Biography.

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.


Tracklisting.

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


Credits.

Written, produced and mixed by Becki Whitton
Artwork by Goodie


Catalogue.

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).

Fat Planet on Double J


Fat Planet is your ticket to a big world of music

Originally published on doublej.net.au

When I was a young lad, I fell in love with a German girl called Nena. She had everything I wanted in a girlfriend: spiky brown hair, leather trousers, punk attitude, and a tendency to show off her armpit hair with some degree of regularity.

That summer, Nena seemed to be in my house 24/7, but sadly I never understood a word that she said.

I should back up a little and season this love story with a pinch of truth. Nena did exist, albeit as the lead singer of a German new wave band of the same name. Her song ‘99 Luftballoons’ was never off the radio or television in my house that summer, and the 12” copy was practically glued to my bedroom turntable.

‘99 Luftballoons’ was an all-conquering behemoth of a record, and the fact that I had no idea what Nena was singing about barely seemed to matter. I knew that it had something to do with UFOs and Captain Kirk. And balloons of course.

But the song was delivered with such feisty energy and unstoppable swagger that it stomped all over such concerns with a muddy Doc Marten boot.

This teenage episode taught me that emotion and story can quite easily be conveyed without the need for lyrical signposts. For a kid raised on pop songs, this was something of a revelation.

Suddenly everything was pointing to a bigger and better world of music, and the promise of there being even more pop-punks like Nena and more great songs like ‘99 Luftballoons’.

Where would you find Japan’s Joy Division? Or Brazil’s Bowie? Or South Africa’s Salt’n’Pepa? Did they even exist?

 

Pre-internet, pre-digital, pre-anyone really giving a damn about something other than their own backyard, contemporary music in other languages was devilishly hard to come by, even if you had an inkling of what to look for (such as a new Nena album, perhaps?).

The paradigm shifted a little when “world music” started to find its way into the racks in stores, but a quick flick of the discs would often only reveal traditional folk, roots or indigenous music.

Where would you find Japan’s Joy Division? Or Brazil’s Bowie? Or South Africa’s Salt’n’Pepa? Did they even exist?

Fast forward to 2016, and I can tell you that the answer is most definitely ‘yes’. Whilst our insatiable craving for Western music has rendered them largely invisible to us, such artists are most definitely out there, and they are probably well-known and well-loved in their country of origin.

Japan, for example, has one of the most diverse and compelling music scenes in the world, and they simply adore their local artists. 98% of all Singles sold in Japan are by Japanese artists, the highest percentage of domestic sales in the world.

This represents a staggering number of bands and producers, but how many of those Japanese artists find their way into the Australian music psyche? We can probably count them all on one hand.

Whatever you want to call it, it’s probably not “world music”.

It does seem a little unsophisticated to lump “everyone else” into one giant, nondescript category. Should we have dropped Nena’s ‘99 Luftballoons’ in there? Or Bjork? Or Bob Marley? David Byrne famously hated the term “world music”, dubbing it as “a way of dismissing artists or their music as irrelevant to one’s own life … It ghettoizes most of the world’s music”.

Whatever its name, let’s just agree that it’s bloody great music, just waiting for one of those luftballoons to blow it over the ocean.

Fat Planet airs every Wednesday night from 8pm on Double J

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 pretty-gritty.net

Photos by Sam James and Gail Priest.

Lovely Head – ‘Always’ (Provenance)


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Notes.

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…’ – whothehell.net

‘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


Biography.

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.


Tracklisting.

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


Credits.

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.

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.

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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.

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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.

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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.

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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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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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Out From Under #18 – Martyn Palmer (Broken Chip / Hidden)

Electronic artist Martyn Palmer has been recording calm and tranquil sounds as Broken Chip for many years, but in recent months something fundamental has changed – precipitating a shift from light to dark, from tranquil to anxious, culminating in a new project under the alias Hidden. In this week’s episode of Out From Under, we hear from Martyn Palmer about his new work, the impetus for the shift in direction and how it contrasts with his work as Broken Chip – taking in an exclusive mix of brand new tracks from Hidden and a walk through Martyn’s back catalogue.

Originally broadcast on Resonance Extra, 14 July 2016.

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Photo by Ona Janzen for MTNS MADE.

Out From Under #17 – Archival: The 1970s (Part II)

This episode of Out From Under is the second in a series which looks backwards to the early years of experimental music making in Australia. We explore the latter half of the 1970s, taking in the electroacoustic and multi-media collective WATT; early avant-garde work from renowned figure Carl Vine; prototype tape experiments from the foundation days of Severed Heads; Western Australian composer Ron Nagorcka whose work took a turning point on discovering John Cage; incredible acoustic recordings made in grain silos from Ros Bandt (pictured), and tracks from Jon Rose, one of the key influential composers and players in Australian experimental music, free improv and sound art.

Originally broadcast on Resonance Extra, 14 July 2016.

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Out From Under #16 – Archival: The 1970s (Part I)

This week’s Out From Under is the first of a strand of episodes that gaze backwards to the early years of experimental music making in Australia, tapping a rich and fertile vein that came to fruition in the late 60s and early 1970s. This is the first of two episodes that explore the Seventies – taking in psych prog rock band Tully, composer Felix Werder, Moog master Martin Wesley-Smith, free improvisation group NIAGARA and the incredible Tristram Cary (pictured), whose work underpinned a number of classic science fiction television series, including the first appearance of the Daleks in Doctor Who.

Originally broadcast on Resonance Extra, 30 June 2016.

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Out From Under #15 – New Music: Tangents, Reuben Ingall, Lisa Lerkenfeldt + more

This episode of Out From Under is the latest in the new music playlist series, surveying the terrain of eclectic and experimental music across Australia. We hear from experimental quintet Tangents [pictured], a quasi super group of sorts exploring the outer ranges of rock and jazz; Canberra’s Reuben Ingall on a new cross-continental split series; Melbourne artist & musician Lisa Lerkenfeldt; brand new material from Brisbane avant-garde trio FEET TEETH, Melbourne’s Fad and ModB, NSW duo School Girl Report, and the collaborative project of Andy Rantzen & Jochen Gutsch; plus a trio of tracks from one of Australia’s longest running tape labels, Altered States.

Originally broadcast on Resonance Extra, 23 June 2016.

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Out From Under #14 – Host

For six years, Nathan Jenkins was part of Australian extreme metal band The Amenta, known for their refusal to fully commit to any sense of what a metal band should be. After working within those extremities and contradictions, Nathan established the solo project titled Host, fusing dark ambient, noise and drone. In this episode of Out From Under, Stuart Buchanan talks to Nathan about this transition and his highly ritualistic approach to music making, as well as his role as curator for the upcoming two-day event, Black Mountain.

Originally broadcast on Resonance Extra, 16 June 2016.

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Out From Under #13 – Marcus Whale

Marcus Whale has been straddling the worlds of experimental music and alternative pop throughout his career, from his early improvisational work as Scissor Lock, through the densely layered electronic pop of Collarbones to the taut, politically charged BV project he formed with Guerre aka Cassius Select. In this episode of Out From Under, we celebrate Marcus’ debut solo release under his own name, as he talks about his work, his personal growth, and his political intent, and reflects on the outcomes – one foot on both sides of the channel.

Originally broadcast on Resonance Extra, 9 June 2016.

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Out From Under #12 – Brainbeau

Brainbeau are a Brisbane-based underground electronic duo featuring Chelsey Charlton and Kat Martin, aka Chelvis Chesley and Kat Martian, aka Dust Storm Jogger and X in O, aka Emotional Hoon and El Crumple Dash. There are vestiges of classic Detroit and Chicago techno in their music, riffing off Warp and Rephlex, Not Not Fun and 100% Silk, muddied with a lo-fi aesthetic redolent of a slew of North American tape labels. In this episode of Out From Under, I talk to Chelsey and Kat about Brainbeau and Brisbane, the world they’ve created and now inhabit – a place where they take fun very seriously indeed.

Originally broadcast on Resonance Extra, 2 June 2016.

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Out From Under #11 – Jannah Quill

Sydney artist Jannah Quill works in electronic installation and performance, exploring and exposing hidden energies, predominantly through the photo voltaic process – translating light into electricity and ultimately into sound and music. Through her work she begins to “uncase electronic music for what it really is”.

In this episode of Out From Under, I talk to Jannah Quill about her work and her process, and listen to her solo sound works – including a set recorded for the Liquid Architecture event, Ritual Community Music – and works recorded under her WDK project with Laura Hunt from Sydney punk band Ghastly Spats.

Originally broadcast on Resonance Extra, 19 May 2016.

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Out From Under #10 – New Music from Carla dal Forno, Collector, Purple Pilgrims & more

This episode of Out From Under is the latest in the new music playlist series, surveying the terrain of eclectic and experimental music across Australia. There’s music from Melbourne’s Carla dal Forno thru Blackest Ever Black (pictured); from artist and producer Thomas William Smith; a new collaboration from the west coast between Perth’s Rabbit Island and Nicholas Allbrook; cracked industrial techno from Newcastle producer Collector; plus tracks from New Zealand’s Purple Pilgrims, Dan Thorpe, WA?STE and more.

Originally broadcast on Resonance Extra, 12 May 2016.

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