New Weird Australia, Volume Five

(cross-posted from

In his 2007 essay ‘Mob Rules’, futurist Mark Pesce noted that “John Gilmore, who co-founded SUN Microsystems … recognised an inherent quality of networks: they promote the sharing of information. This was codified in what I (only half-jokingly) call Gilmore’s Law: The net regards censorship as a failure, and routes around it.” This phrase has stuck with us in the intervening years – that the net (or more accurately, the human beings that use the net) finds censorship, and routes around it.

It came to mind again recently when considering the fracas surrounding the diminishing state of live venues in Sydney and Melbourne, highlighted by the struggles of The Tote and The Hopetoun. It was also front and centre of our minds when looking at the Australian Recording Industry Association’s 2009 Sales Report – claiming that despite an annual 72% increase in digital album sales, that “illegal file sharing… continues to erode profits and hamper investment into the local industry”. Clearly the mainstream music industry remains bewildered and befuddled by the ever-changing landscape unfolding beneath its ivory towers.

These are cited merely to highlight Gilmore’s Law in a new, weird, Australian context – that the artists on this compilation (and their kin spread throughout the country) find censorship, or find a blockage, and simply route around it. Closed venues are a blockage, mainstream industry machinations are a blockage, lazy media are a blockage, indeed any predefined ‘norm’ that restricts freedom of expression and dissemination of art, is a blockage – and in all these cases, we simply find it, and we route around it.

Crab Smasher and Red Plum & Snow route around distribution hierarchy and manufacturing expense by selling their music direct to fans on the digital platform Bandcamp. ///▲▲▲\ routes around traditional expectations of PR & marketing by refusing to be photographed and refusing to present a media release or bio, yet still ends up featured on the renowned U.S. site, The Fader. Justice Yeldham, aka Lucas Abela, finds a wall of noise and litigation around illegal downloads and routes around it by promoting Australian music on WFMU’s Free Music Archive (and thanks to Lucas, you’ll also find our releases there soon). The Atlas Room and Mookoid wind up on this compilation by routing around existing promo & media frameworks by hitting us up directly on Soundcloud. Burning Palms route around traditional marketing and find themselves with over 500 fans on their social network pages with zero releases under their belt. Need we go on?

Venues, channels, infrastructure and norms will all come and go. And if we can’t work with them, we’ll regard them as a failure and we’ll simply route around them. We will always network, we will always share and we will thus always survive. Call it (only half-jokingly) the NWA Law.

New Weird Australia Volume Five, March 2010, NWA005

1. MOOKOID, Hex River Valley (3:32) from ‘Fishy’ (Pimalia)
2. DOT.AY, You Knight (5:25) previously unreleased
3. PEACE OUT!, Running On Sand, Walking On Water (4:29) from ‘Peace Out EP’ (self-released)
4. BURNING PALMS, Mockery (2:12) previously unreleased
5. THE ATLAS ROOM, Iris (5:18) previously unreleased
6. ///▲▲▲\, Spit Shine (2:00) previously unreleased
7. KATE CARR, Textopera (3:06) from ‘First Day Back’ (Retinascan)
8. RED PLUM & SNOW, I Would Die 4 U (2:21) previously unreleased
9. DUNS, Bad Rythm (sic) (5:47) from Cowardly Attack (c40 cassette, Willaston Tapes)
10. VORAD FILS, Temple Leak (2:42) from ‘The Warmest Static – POWWOW Ten’ (Feral Media)
11. JUSTICE YELDHAM, March Of The Bodypumpers (4:54) previously available as a Wire Magazine download
12. GAIL PRIEST, Etchings (3:22) previously unreleased
13. CAUGHT SHIP, BlackHole/SweatBeat (5:32) previously unreleased
14. CRAB SMASHER, Skin Destruction (3:58) previously unreleased
15. RIPPLES, False Mission (5:06) from ‘Ripples EP’ (self-released)
16. BLAKE FREELE, Inside There’s Expectations (8:59) previously unreleased

Compiled by Stuart Buchanan & Danny Jumpertz.
Artwork by Kris Keogh,
Click artist title for background information and links.

New Weird Australia is a not-for-profit initiative designed to promote and support new eclectic and experimental Australian music. Our current projects include a free compilation series (available to download every two months), a weekly show on Sydney’s FBi Radio and an irregular program of live events. Contributions from Australian artists are welcomed and encouraged -submission details and terms can be found at


Who The Bloody Hell Are They? “I’m a big fan of these compilations, and what I’ve found impressive is that they’ve managed to uphold the quality of those first couple of compilations, the point where Vol. 5 might actually be my favourite so far… Definitely worth checking out.”

Throw Shapes “Be ready to feel your brain tickled via your ears, like some long, thin device has snuck its way in there and wiggled around. Ahem.”

Engendered From Devine Breath “If you want to get some excellent examples of contemporary avant-garde rock music, you should certainly listen to this compilation.”

New Weird Australia Live – Paint Your Golden Face, Alps, Caught Ship, Karoshi

ALPS (Newcastle)
CAUGHT SHIP (Melbourne)
KAROSHI (Sydney)

St Petersburg, St Peters, Sydney

NEW WEIRD AUSTRALIA presented its first live event for 2010 on Saturday 27th March, featuring four acts from three states, held at St Petersburg in St Peters, Sydney.

Headliners PAINT YOUR GOLDEN FACE are a two-piece from Hobart who make music with choirs, drum loops, vocal loops, organs and tape loops.  Following last year’s three-track single “He Was Run Off The Road By His Amazing Face”, the band appear at New Weird Australia to promote their self-titled debut album, released this month on Tenzenmen Records.

Newcastle’s ALPS (aka solo artist Chris Hearn) play textured pop music with elements of shoegaze, folk, psych and drone – centred around analog keys, clean guitars, reverby vocals, drum machines, field recordings and pedals. Since 2005, ALPS has independently and through different labels internationally released three albums, two EP’s and a variety of 7” singles and splits. The new album, “Alps of New South Whales” is out now.

Melbourne’s CAUGHT SHIP developed from the Ben Pat, a.k.a Ben & Pat, two men with a mutual enjoyment of sweet hip hop beats and delay pedals. Later adding Jon and Kahli, Caught Ship continued to develop their sound; and have since been working towards carving their own style in a live setting. A new recording from CAUGHT SHIP appears on NEW WEIRD AUSTRALIA Volume Five.

KAROSHI is Sydney based musician, Beres Jackson who plays a mix of melodic downtempo folk-tronica, fused with Berlin influenced glitch-techno. 4-4-2 Music will be releasing Karoshi’s debut album during 2010 which sees an expanded approach to his sound, with additional input from his live band and other collaborators.


Mess & Noise – Review “I love watching people dance to noise. It’s theatre of the purest kind especially when twirling, dervish moves ensue.”

The Brag – Interview “one of Australia’s most important champions of innovative music” (view online at Throw Shapes)

Two Thousand “Now that the music blog is leaping into live form with their latest show, it’s kind of like the Internet is dancing around in front of you – awesome”.

New Weird Australia Podcast #6. The Necks – Interview

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.  

THE NECKS are one of Australia’s most innovative cult bands, channeling experimental, avant garde, jazz, ambient and minimal sounds via a back catalogue that runs to fifteen albums over twenty years. Each of THE NECKS also has an equally impressive solo and collaborative career – however they always find time to regroup and return to Sydney at least once a year for one of their renowned live shows.

Ahead of their Sydney show in February 2010, Chris Abrahams from THE NECKS joined Danny and I on the NEW WEIRD AUSTRALIA Radio Show for a chat about their ever-evolving career and, in particular, the new album ‘Silverwater’ – a single 67 minute piece, representing some of their best work to date.

DOWNLOADNew Weird Australia Podcast #6. The Necks – Interview

New Weird Australia Podcast #5. Crab Smasher, Live-to-air Performance & Interview

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.

By their own admission, CRAB SMASHER are a NSW based group of “improvisational sound sharks crafting a frenzied hodgepodge of weirdo psychedelic noise rock and experimental pop delicious”. Having morphed through a variety of lineups and styles since their formation in 2002, their then current incarnation took out in January 2010 to visit the New Weird Australia radio show with guest presenter Brooke Olsen. The band delivered a rare live acoustic set and discuss what it means to be “the first carbon neutral noise band”, playing in a Newcastle scene big enough to fill a small living room.

New Weird Australia Podcast #4 – Tom Ellard (Severed Heads)

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.

SEVERED HEADS are regarded as being one of the most influential experimental and electronic bands in Australia, pioneering the use of tape loops and samples in the late 1970s and early 1980s, and forging an innovative career that has stretched across three decades.

Returning for a special ‘grand finale’ show at the 2010 Sydney Festival, Severed Heads’ mainman TOM ELLARD joined Danny Jumpertz and I for a look back at their career, playing highlights and rarities, and finding out what was in store for the Sydney Festival gig.

img: test render from ‘Sevs In Space’ (via

New Weird Australia, Volume Four

(cross-posted from

What’s in a name?

In attempting to find answer that question, and thus establish a title for this very project, there was a solitary guiding idea – that the artists shared a deep common bond, beyond just an experimental approach to music making. In their own unique ways, we believe that each artist on New Weird Australia shares a disdain for any cabals of musical ‘authority’, an irreverence to established industry etiquette, a rejection of art neutered for acceptability, and ultimately a dismissal of ‘rules of behaviour’ in contemporary music practice. Their music exists in an autonomous zone of their own construction, unburdened by any sense of what ‘should’ or ‘shouldn’t’ occur.

In broader Australian culture, the comedic variant of this sensibility is often referred to as ‘larrakinism’ – characterised by the mischievous or outlandish ‘larrakin’, who gleefully flaunts regulations and standards set down by society. The nemesis of every po-faced ‘do-gooder’ in the country, the larrikin takes the piss, flaunts convention, and pushes buttons and boundaries with great abandon.

Although this action is universal, the word ‘larrikin’ is perceived as a quintessentially Australian definition, with roots as far back as the 1860s. In one of its earliest occurrences, the larrikin is beautifully cited as a “young urban rough”, although its lexicological roots suggest it was born of a conjunction between ‘leery’ (‘wide awake’ or ‘knowing’) and ‘kinchin’ (‘youngster’). Most of its recorded use in the late nineteenth century always seemed to involve both thievery and mischievousness.

Transgressions against boundaries or conventions, rejection of norms and standards handed down by an authority, all wrapped in a roughish youthful spirit – whichever way you cut it, the larrikin sensibility is writ large in New Weird Australia. No more so than in this particular volume – where Textile Audio takes both classical and operatic blueprints, and weaves them around found sounds and abstract electronica; Tasmanian duo Paint Your Golden Face rethink and reshape the fundamental essence of the male voice choir; Reunion Sacred Ibis cuts a sharp sheath through archival sounds in a spirited slice of plunderphonics; Gold Tango reinvent Kraftwerk with an unexpected tribal swagger; and Scattered Order stick two well-placed fingers up against the very idea of ‘heritage rock’, their original line-up reforming after over 25 years, with their innovative touch still absolutely to the fore – delivering an exclusive cut from their (very) long-awaited new album.

This entirely Australian larrakin paradigm – an irreverence to a learned authority, maverick thievery, a rejection of etiquette – it may help to explain why ‘New Weird Australia’ is ripped directly from ‘New Weird America’, a phrase coined by Scottish journalist David Keenan in 2003 to define a new breed of American psychedelic folk or ‘free folk’. Since then, ‘New Weird America’ has been used in a variety of ever changing contexts – cited in as “[finding] inspiration in such disparate sources as heavy metal, free jazz, electronic music, noise music, tropicália, and early- and mid-20th century American folk music”. Any perceived rules of definition are clearly dubious.

‘New Weird Australia’ does what it says on the tin. It’s new, weird, Australian music. Thus, we felt compelled to appropriate (nay, thieve!) Keenan’s nomenclature for our own ends. Sure, it’s a bastardisation. Sure, it’s wrong-headed. But if in the rejection of a guarded sense of ‘what is right’, we put even more noses out of joint, then more power to us. And while the odd prude may cry ‘plagiarism’, they might well be missing the point.

Consider it even more broadly, reduce it to its simple acronym. The letters N,W and A. And, there once again, for a second time over, we steal where we shouldn’t steal from, we tread on toes that we shouldn’t tread on – in fact, we clearly reject any notions of what we should and shouldn’t do. An ideal I’m sure both the American freak folksters and the late Eazy-E would readily connect with.

New Weird Australia Volume Four, January 2009, NWA004


1. TEXTILE AUDIO, Some Kind Of Mininova (5:32)
2. PAINT YOUR GOLDEN FACE, Television Is About Picture (4:12)
3. REUNION SACRED IBIS, Sing It To The Mountains (2:11)
4. TANTRUMS, Beat The Happy Pavement (4:08)
5. SCATTERED ORDER MK 1, Ruined By Me (5:44)
6. ALISTER SPENCE TRIO, Two Halves Of The Moon (3:26)
7. SCISSOR LOCK, Codify (2:05)
8. GUTTER PARTIES, Sashi (2:15)
9. NO ZU, Lay Of The Land (4:25)
10. THE TOWNHOUSES, Jigsaws Under The Clouds (4:08)
11. SEAWORTHY, They’re Cicadas You Know? (3:55)
12. GENTLEFORCE, Our Last Day Together (4:30)
13. GOLD TANGO, Telescope (3:26)
14. ALPEN, A Meditation On Flight (3:16)
15. RED_ROBIN, The Surveyor (4:36)
16. AUTOMATING, When Use Becomes Abuse (9:19)
17. SILVER BULLETIN, Minding Time (4:13)

Compiled by Stuart Buchanan & Danny Jumpertz.
Artwork by Anna Vo,

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.
All tracks previously unreleased, except: 6. from ‘Fit’ ; 8. from ‘Marooned EP’ ; 9. from ‘Graffiti EP’; 13. from ‘Gold Tango EP’.

New Weird Australia is a not-for-profit initiative designed to promote and support new eclectic and experimental Australian music. Our current projects include a free compilation series (available to download every two months), a weekly show on Sydney’s FBi Radio and an irregular program of live events. Contributions from Australian artists are welcomed and encouraged -submission details and terms can be found on the About page.

Cyclic Defrost “favourite of the series so far… some brilliant music from both known and unknown artists always lurking around the corner”

Now Like Photographs, Minneapolis – Record Of The Week “If you need a primer on what is fresh from Australia’s music scene, look no further than New Weird Australia.”

Electrorash “More eclectic, eccentric and often amazingly beautiful tunes … pick up the whole shebangabang for $0.00 AUD. That spells value in 4568 of the approximately 5000 recorded spoken languages known to linguists.”

Daily Beatz (on Tantrums from NWA4) “Could New Weird Australia be the Australian counterpart to Ann Arbor’s Ghostly International? Based solely on this song, I would say yes.”

Throw Shapes Interview

New Weird Australia, Broadcast One

(crossposted from

Since August 2009, New Weird Australia has been broadcasting weekly on Sydney’s FBi Radio – playing two hours of new, experimental and ecelctic Australian music, from over 300 artists to date. NWA also features regular guest performances, playing exclusive in-studio sessions – many of which are previously unreleased. This free download collects together seven of those sessions from Morning Stalker, Cleptoclectics, Scissor Lock, Go Genre Everything, Random Acts Of Elevator Music, Afxjim and The Ghost Of 29 Megacycles.

Title: New Weird Australia, Broadcast One
Catalogue Number: NWAB001
Released: December 2009



1. MORNING STALKER, The Bohemian Grave (7:56)
2. CLEPTOCLECTICS, Mr Convex (5:38)
3. SCISSOR LOCK, Out By Holy Land (Scissor Lock vs Pimmon vs Scissor Lock Remix) (13:25)
4. GO GENRE EVERYTHING, Livetoair17sep2009 (Showw) (8:34)
5. RANDOM ACTS OF ELEVATOR MUSIC, Lunchtime Meditation Session (8:13)
6. AFXJIM, The Chris Jericho Diaries (8:05)
7. THE GHOST OF 29 MEGACYCLES, Leelo (Part 1) (8:22)

All recordings previously unreleased.
Originally broadcast on New Weird Australia on FBi Radio.
Stream FBi Radio at, or listen in Sydney in 94.5FM.
‘New Weird Australia’ broadcasts every Thursday at 9pm (Aus EST).

Compiled by Stuart Buchanan & Danny Jumpertz.
Artwork by Rebecca Macdonald.

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.

New Weird Australia Podcast #3 – Scissor Lock

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.

SCISSOR LOCK is an experimental project of Sydney musician Marcus Whale, exploring the tension between organic and electronic elements in sound, utilising guitar, reeds, voice, piano, singing bowls and bells along with somewhat lo-fi digital processing. In this interview (originally broadcast 12th November 2009), Marcus discussed his remix project, ‘Now’, featuring contributions from Raven, Shoeb Ahmad and Pimmon. The podcast also includes an exclusive, in-studio performance of ‘Out By Holy Land (Scissor Lock vs Pimmon vs Scissor Lock Remix)’.

New Weird Australia Podcast #2 – Scattered Order

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 this episode, from November 2009, Mitch Jones joined Danny Jumpertz and I to talk about the past, present and future of SCATTERED ORDER.

Mitch stands as one of the key figures in the history of alternative music in Sydney. Together with Michael Tee, Jones founded M-SQUARED Records – home to a cluster of now seminal local post-punk artists such as SYSTEMATICS, THE MAKERS OF THE DEAD TRAVEL FAST, YA YA CHORAL, PROD and their own band, SCATTERED ORDER. Nearly 30 years after the fact, SCATTERED ORDER reformed their original line-up, both playing live and recording once again.

New Weird Australia Podcast #1 – Jeff Burch

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.

This episode, originally broadcast in November 2009, features JEFF BURCH – an American born New Zealander then based in Sydney. Besides his solo work he also runs independent Imprint/Record Label THE SPRING PRESS (Bruce Russell, Psychic Ills, Magik Markers, The Bats etc.), he co-founded the duo MADALA TRAP with PAUL GOUGH (Pimmon) and was formerly one quarter of SONGS.

New Weird Australia, Volume Three

(cross posted from

The old adage still holds true – one man’s meat is indeed another man’s poison. Divert the same philosophy to music and the song remains the same. One woman’s rock is another woman’s roll – or thereabouts.

We make this point to simply note that our definition of ‘weird’ is purely subjective – and we make no claim otherwise. The artists that represent Volume Three of New Weird Australia truly stretch, invert and redefine the notion of ‘weird’. To some, this selection might well be perilously unlistenable, to others we’re toying dangerously with pop at various flash-points throughout the compilation. And therein lies the point.

Our mission is not to meticulously scope and define what is to be ‘weird’ (#FAIL). Our mission rather is to map out a loose terrain – one that skirts around the topological spread mapped by mainstream alternative media, and one that sits both simultaneously in and out of reach. New Weird Australia is designed as a bridge to reach fresh pastures – at some points that journey might feel familiar, at others it might be terrifyingly new.

Given that we’re now on our third volume, we understand that in order to go deep, we also have to go wide – which means fucking with the boundaries at both ends of the spectrum. From Zeal‘s quasi-Anticon hip-pop to Anon‘s 14-min noise excursion, Volume Three does indeed traverse considerable distances – along the way winding via Lecter Macabre‘s pitch-black slow-mo roar to Pompey‘s steel-drum romp that winds the set towards a final, optimistic flourish. We could obviously go much wider and much deeper yet – there lies new worlds to conquer in future volumes.

For now, for this month, this is our definition of New Weird Australia. Some you’ll adore, some you’ll abhor – and with that very disagreement, we’ll all find common ground.

New Weird Australia Volume Three, November 2009, NWA003

1. JEFF BURCH, Untitled 1 (The Western Hour) (3:44),
from ‘As I Remember, If I Remember Correctly, I Arrived Sweetly’
2. AFXJIM, Through The Woods (6:08), from ‘POWWOW Eight (Blackout Music)’
3. 48/4, Hlibt (3:39), previously unreleased
4. THE SINGING SKIES, September (2:52), from ‘September Sky’
5. K MASON, Of 2 Evils (7:15), from ‘2 (Evils)’
6. ALPS, Goosebeak Whale (2:21), from ‘Alps Of New South Whales’
7. DRIVE WEST TODAY, Anthropology (4:37), previously unreleased
8. ADAM TRAINER, Corrosion Party (4:22), previously unreleased
9. COMATONE, They Fall Freely (6:05), previously unreleased
10. ZEAL, Wasps (2:34), previously unreleased
11. NAMATOKE, A Mountain With A Secret (4:53), from ‘Chiaroscuro’
12. LECTER MACABRE, Granelli (New Version) (2:43), previously unreleased
13. BUM CREEK, Fast Forrest (5:13), from ‘Bum Creek’
14. ANON, Quiver Crura Quaker (13:46), previously unreleased
15. ERASERS, Lost///Found (4:26), from ‘Erasers’
16. POMPEY, Actual Locks (3:20), previously unreleased

Compiled by Stuart Buchanan & Danny Jumpertz
Artwork by Lee Tran Lam,

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.

New Weird Australia is a not-for-profit initiative established to promote eclectic and experimental Australian music. Free compilations are available to download every two months from Contributions from Australian musicians and designers are welcomed and encouraged – submission details and terms can be found on the About page.


Throw Shapes “a meticulously curated exploration of left-field sounds – surreal, sublime atmospherics through to experimental electronic pop through to ten minute noise jams, all seamlessly ordered, and all from our very own shores”

Liz Berg, WFMU (NYC) / Free Music Archive “I’ve been hitting a few compilations pretty hard lately on the FMA, and I must say that a recent favorite has been “New Weird Australia, Volume 3.” …From mellow and woozy songs fit for a dream sequence, to repetitive krautrock jams, to dainty acoustic prances, to experimental electronic hiss, drones, and moments of glitch. This album won’t start any parties, but it does wonders if you’re driving, in a contemplative mood, just waking up, or stuck inside on a grey day.”

Unpopular Music 2009, A Benefit For FBi Radio


PIMMON & JEFF BURCH (Solo Sets & Debut Live Collaboration as Mandala Trap)
DJ Sets from Kevin Purdy (Tooth), Tim Ritchie (Sound Quality, ABC Radio National) and Tom Smith (Cleptoclectics).

Red Rattler, 6 Faversham Street, Marrickville

Three FBi radio shows, New Weird Australia, Unputdownable & Sunday Night At The Movies, came together to present ‘Unpopular Music’ – a benefit to support their station. They pooled their collective networks and gathered twelve of Sydney’sinnovative, experimental artists – all of whom are donated their time, with all proceeds going directly to FBi, helping to ensure the ongoing survival of Sydney’s home of new music.

The line-up was headed by Pimmon & Jeff Burch – playing both solo sets and a joint live performance, launching their new collaborative project, Mandala Trap. Pimmon has forged an international reputation for creating dense, challenging and engaging electronic music – and, under his given name of Paul Gough, also presents a show on FBi titled Paulʼs Play Lunch. Jeff Burch runs The Spring Press label, was formerly one quarter of Sydney band Songs and launched his solo record in 2009 on Perthʼs Farmer Frontier label.

The all-Sydney bill also included:

Kyu an experimental pop outfit who delivered an amazing performance at the New Weird Australia showcase at Sound Summit

Anon aka noise artist, musician and label manager Anna Vo

Scissor Lock, an experimental project from musician Marcus Whale

Anna Chase, a multi instrumentalist and vocalist who weaves melodies into familiar yet dreamy pop constructions.

• sound artist, musician and chronic circuit bender Nick Wishart – long-standing member of Toydeath

• plus DJ Sets from Kevin Purdy (Tooth), Tim Ritchie (Sound Quality, ABC Radio National) and Tom Smith (Cleptoclectics).

Sydney design crew Sopp Collective also jumped on board by donating their unique design talents for the event poster and flyer, featuring a unique series of ʻUnpopular Creaturesʼ – the degenerate ʻyinʼ to Yo Gabba Gabbaʼs ʻyangʼ.

Photos by Miles Martignoni, Paul Threthni and Stuart Buchanan.


‘Unpopular Music 2009, A Benefit Album For FBi Radio’ collects seven exclusive tracks, recorded live at ‘Unpopular Music 2009′.


1. NICK WISHART, Untitled (Live at Unpopular Music 2009) (04:22)
2. ANNA CHASE, Lines (Live at Unpopular Music 2009) (04:52)
3. SCISSOR LOCK, Untitled (Live at Unpopular Music 2009) (12:08)
4. ANON, Untitled (Live at Unpopular Music 2009) (16:29)
5. kyü, Sunny In Splodges (Live at Unpopular Music 2009) (05:19)
6. MANDALA TRAP (Pimmon & Jeff Burch) – Untitled (Live at Unpopular Music 2009) (7:02)
7. PIMMON, Untitled (Live at Unpopular Music 2009) 6:13

Recorded live at The Red Rattler, Sydney, November 2009.
Recorded and mixed by FBi Radio 94.5FM.

Catalogue. NWAUM001

Stream / Download.




New Weird Australia Live At Sound Summit 2009


Arthive / Renew Newcastle Church / Festival Club (Masons), Newcastle

On Sunday 4th October, New Weird Australia presented a one-day free, live showcase – in celebration of the tenth anniversary of Newcastle’s Sound Summit Festival. Across three spaces and nine hours, eleven bands played live, representing a cross section of New Weird Australian music from New South Wales, Northern Territory, Victoria and Queensland.

FEATURING: Go Genre Everything, Polyfox And The Union Of The Most Ghosts, Brutal Hate Mosh, Lucia Draft, Alps, kyü, Moonmilk, Castings, Blastcorp, Gugg, Holy Balm, and DJ sets from Faux Pas & Stuart Buchanan

For more information on Sound Summit, visit

Event Audio.

HOLY BALM Recorded live featuring GUGG and friends at TINA 09


Recording notes from HOLY BALM:
“The brutal show where equipment broke, and some band members almost didn’t make the set at all because of unforeseen Newcastle adventures! It was still an amazing and very memorable show for all who was there. GUGG guested with us and audience participation followed which surprised us but made the set all the more hectic and amazing! The stage almost snapped from everyone dancing and bouncing around and using anything they could as percussive instruments; including each other. Recorded by Lia and Kel in the old Mason’s Hall in Newcastle…October long weekend 2009.”

New Weird Australia, Volume Two

(cross posted from

Grant Hunter’s cover artwork for the free download compilation, New Weird Australia Volume Two – featuring our country’s endearing emblematic marsupial with black claw outstretched and a murderous fleck in his eye – perfectly illustrates the ‘Jekyll & Hyde’ binary of the Australian story.

On one side, the world is sold on paradisal visions of Australian reefs and plains, care-free surfers racing down golden sands, and the classic long-shot of a sun-blemished Uluru. On the flip, with just as much fervour, we mythologise and peddle stories of perpetual gangland warfare, malevolent outback serial killers and dingoes eating babies for their morning snack.

If only the same warped duality could be brought to bear on the world’s vision of our musical worth. The exported track record is however largely one-sided – our place as the shiny, electro party-starter of the Southern Hemisphere is unrivalled, along with a seemingly endless passion for rock, culled from a 40-year old tombstone. Ask the world to identify a prominent Australian undercurrent and they will remain largely tight-lipped. Hence New Weird Australia – a project aimed as much at curating a contemporary library of alt-Australiana, as promoting that collection to the rest of the globe.

For Volume Two, we once again represent a strong geographic diversity with music from Tasmania, Western Australia, Queensland, Victoria, South Australia and New South Wales. We embody genre diversity from 21-year-oldWilliam Gardiner’s neo-classical work to the sprawling sample ephemera spread by Newcastle’s Cock Safari; from Maddest Kings Alive’s shoegaze chip-tunes to a seemingly perfect drift plain soundtrack, hewn by Solo Andata’sPaul Fiocco. There are also multiple exclusives from Kharkov, Lucia Draft, Mieli, No Art, Karoshi, Transmissions and Jason (Pretty Boy Crossover) Sweeney’s Panoptique Electrical project, and new work from Broken Chip, Ghoul, Oceans, Sam Price and Splendid Friends.

In mapping and redefining the local terrain, New Weird Australia represents a new breed of Australian musicians that cast an essential shadow over Australia’s sunny disposition.

(cross-posted from

New Weird Australia Volume Two, September 2009, NWA002

1. OCEANS, 02 + 03 (5:11) From ‘album’
2. GHOUL, Swimming Pool (Remix) (3:04) From ’Swimming Pool’
3. WILLIAM GARDINER, Sonance Arboreal (4:39) Previously unreleased
4. SAM PRICE, AutoHackney (5:28) From ‘Rand’
5. BROKEN CHIP, Summer Stars (5:06) From ‘POWWOW Seven’
6. KHARKOV, Crustacean (3:12) Previously unreleased
7. COCK SAFARI, 8MH (6:36) Previously unreleased
8. LUCIA DRAFT, Not Interested (1:16) Previously unreleased
9. MIELI, Hometime (3:34) Previously unreleased
10. KAROSHI, Re-Animate Me (2:44) Previously unreleased
11. NO ART, Fight In The Nocturnal House (3:56) Previously unreleased
12. TRANSMISSIONS, Staring At Lightning Strikes, Catching Every One (2:45) Previously unreleased
13. PANOPTIQUE ELECTRICAL, We Was Them (7:32) Previously unreleased
14. MADDEST KINGS ALIVE, Measels (4:05) Previously unreleased
15. SPLENDID FRIENDS, Holy Shears (1:42) From ‘Summer Moon Illusion’
16. PAUL FIOCCO, Torsions and Drifts (13:34) From ‘Torsions And Drifts’

Compiled by Stuart Buchanan & Danny Jumpertz
Artwork by Grant Hunter,

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.

New Weird Australia is a not-for-profit initiative established to promote eclectic and experimental Australian music. Free compilations are available to download every two months from Contributions from Australian musicians and designers are welcomed and encouraged – submission details and terms can be found on the ‘New Weird Australia’ site.


The Silent Ballet “there really is no reason for any curious avant-garde aficionado to pass this one up”

Real Time Arts “exposing listeners to some great hidden treasures with an impressive Australia-wide representation”

Foxy Digitalis “Kudos to anyone who is willing to get into the endeavor and gather unreleased songs for eleven of the sixteen tracks from bands all over the spectrum”

New Weird Australia, Volume One

Stream / Download.


Sleeve Notes.

Geography dictates that, to some, Australia may forever remain as the Romans once saw it, as the “unknown land of the south”. However as technology conquers territory, distance becomes increasingly insignificant – a fact that is clearly illustrated on this first instalment of New Weird Australia. In borrowing (and expanding) ‘new, weird’ terminology, we hope to shrink the notion of distance between innovative Australian artists and their international compatriots; between the dot points on the vast map of our own land and between definitions of genre, taste or style.

For Volume One, we find ourselves narrowing the gap of the 4,000km range from the precision edit and bluegrass glitch of Brisbane’s Anonymeye, to the free-jazz of Yugoslavian ex-pat and Perth resident, Predrag Delibasich. We simultaneously compress time – moving from Pimmon (a renowned experimentalist with a significant international back catalogue) through to Kyu, a nascent duo freshly ripped from the Sydney soil. We additionally garner exclusive tracks from Telafonica, Tom Smith (of Cleptoclectics), Raven and Inquiet, and recent releases from Clingtone, Lessons In Time, Battlesnake, Loom and the inappropriately named Brutal Hate Mosh.

Neither popular nor alternative, neither one genre nor another, New Weird Australia represents a new breed of Australian musicians that find refuge in the space between us. We hope you enjoy this selection and seek out the full library of work that these artists have to offer.

Stuart Buchanan, July 2009.


1. CLINGTONE The Intruders (1:23) From ‘Mary Had A Little Lamp’
2. ANONYMEYE If At First You Don’t Secede… (5:31) From ‘The Disambiguation Of Anonymeye’
3. LESSONS IN TIME Those Plastic Street Signs Are Not To Be Followed (2:02) From ‘Lessons In Time’
4. TELAFONICA Time And Distance (6:32) Previously unreleased
5. PIMMON On The Other Hand This Carbon Fire Is (Flammable) (4:36) Previously unreleased
6. KYU Sunny In Splodges (5:19) Previously unreleased
7. BATTLESNAKE Shadow Of The World’s Tallest Midget (5:22) From ‘Umlaut’
8. TOM SMITH Settled For Less (3:09) Previously unreleased
9. RAVEN Presumption #1 (3:10) Previously unreleased
10. LOOM Snail Shell (8:06) From ‘All You Need Is Teeth’
11. INQUIET Honey & Seeds (3:28) Previously unreleased
12. PREDRAG DELIBASICH Heartburn (13:37) Previously unreleased
13. BRUTAL HATE MOSH Roads (1:43) From ‘It’s Pronounced Kate Moss’

Compiled by Stuart Buchanan
Artwork by Adrian Elmer

All music donated by the artists for use in this compilation only, all rights reserved.

Thanks to all the artists for the leap of faith in donating their tracks for the first volume in this initiative. Special thanks to Danny Jumpertz and to Adrian and Blake for their early support.


The Silent Balletfulfils the brief of a compilation better than most others I’ve ever encountered”

Impose Magazine “does a number on anyone looking for a unified front from the land down under”

A-Reminder believes that “It’s projects like this that make this whole internet/music thing really, really exciting

Alternative Media GroupA great idea, and an interesting listening experience guaranteed.”

Foxy Digitalis “there’s good, unfamiliar (free) music to be had here”

Slang Tang Podcast – Fever Ray

Following the release of their critically acclaimed and award-winning album ‘Silent Shout’, Swedish dark-electro duo The Knife took time out to pursue their own individual projects. Olaf Dreijer worked on an original soundtrack for the opera ‘Tommorow In A Year’ by Danish performance group Hotel Pro Forma. His sister, Karin Dreijer Andersson, instead opted for a solo album, under the name Fever Ray. Whilst occupying similar sonic territories to The Knife, ‘Fever Ray’ introduced a personal and intimate side to Karin that was hitherto unseen.

In this Interview Edition of the Slang Tang podcast series, Stu Buchanan talks to Karin about the Fever Ray project. Talking from her home in Sweden, Karin discusses the genesis of the project, her continuing exploration of electronic music and the impact of motherhood on her creative work.

This interview with Fever Ray was originally broadcast on FBi Radio on Disorient, presented by Stu Buchanan.


Slang Tang Podcast – Episode 7

Episode 7 of Slang Tang podcast series launches with legendary vocalist Tippa Irie, working with Brazil’s Digitaldubs on a unique blend of dub and baile funk rhythms; we kick on with new tracks from Maga Bo featuring South African MC Teba and from Egyptian born DJ and producer, Mutamassik; there’s dubstep from two German producers, Discreat and Wadadda, the latter remixing UK’s Zion Trian; a cut from from Kid606‘s new release ‘Die Soundboy Die’; and new electronica from Kampion via Mexico and Lackluster via Finland.

DOWNLOAD Slang Tang Ep.7 (December 2008)

DIGITALDUBS & TIPPA IRIE – Strickly Heavy Dub [Brazil / England] | Buy
MAGA BO & TEBA – Nqayi [U.S. / South Africa] | Buy
MUTAMASSIK – 5×8 Cell [Egypt] | Buy
DISCREAT – Distanz [Germany] | Download
ZION TRAIN – Boxes and Amps (feat. Dubdadda) (Wadadda Remix) [England] | Buy
KID606 – Umbilical Bullets [Venezuela] | Buy
KAMPION – Round 13 [Mexico] | Download
LACKLUSTER – Onecycle (More) [Finland] | Buy

Slang Tang is produced & presented by Stu Buchanan.

Artwork on this post from Mutamassik ‘The Commo EP’.

Slang Tang Podcast – Episode 6

Slang Tang Episode 6 starts with a double-shot of ’skwee’ – the growing Scandanvian genre that blends bleep-tronica, twitch hip hop, r&b and funk – represented here by two Swedes, Rigas Den Andre and Beem.  Australian-Sri Lankan MC and prolific live performer Pataphysics follows with a track from his debut album release, performed in Singhalese, which runs into a cut from Nigeria’s Afrikan Boy – following up his appearance on M.I.A.’s ‘Kala’ album with his debut mixtape, ‘Can Of Whoop Ass’. Heatwave collaborator Rubi Dan then freestyles over the classic dubstep crossover ‘Night’ from Benga and Coki, drawing us into two tracks of digital cumbia – the first from Argentinean Chancha Via Circuito’s debut album “Rodante”, the second from The Cumbia Cosmonauts, a group of Australians proving the point that cumbia knows no borders.  We close with a new remix of an early Eighties post-punk gem from Brazilian band, Agentss, fresh from the Man Recordings stable.

DOWNLOAD: Slang Tang Ep.6 (September 2008)

RIGAS DEN ANDRE – Crush Kill Destroy  [Sweden] | Buy
BEEM – Don’t Bogart That Can, Man  [Sweden] | Download
PATAPHYSICS – Komatha Machang  [Sri Lanka / Australia] | Buy
AFRICAN BOY VS DONAEO – African Warrior (Remix)  [Nigeria] | Stream
RUBI DAN, BENGA & COKI – It’s On Tonight (The Heatwave Refix)  [Barbados / England] | Download
CHANCHA VIA CIRCUITO – Bosques Vía Temperley (with Kumbha Kethu)  [Argentina] | Buy
THE CUMBIA COSMONAUTS – Cumbianauts Incoming  [Australia]
AGENTSS – Agentss (NoMoHeroes Mix)  [Brazil] | Download

Slang Tang is produced & presented by Stu Buchanan.

Artwork on this post by Beem.

Slang Tang Podcast – The Bug

In this Interview Edition of the Slang Tang podcast series, I talk to Kevin Martin – aka ‘The Bug‘ – the ragga, dubstep and electronic producer whose new album ‘London Zoo’ was recently released through Ninja Tune.

The Bug has been releasing dark, deep and often brutally-heavy beats for well over ten years, but ‘London Zoo’ is only his second, full-length solo record and his first in five years. In this podcast, he talks about the intensity of life in London, how his early work foreshadowed the birth of dubstep, and about working with some of England and Jamaica’s finest MCs – such as Warrior Queen, Tippa Irie, Ricky Ranking and Spaceape. Underneath the interview, there’s a special re-edit of the album, cut together by dubstep producer and Hyperdub label boss, Kode 9.

Slang Tang Podcast – Episode 5

In Slang Tang Episode 5, we hear from Guyana’s Jahdan Blakkamoore, plus new Russian dubstep from S13, a Euro-Latino electronic blend from Argentina’s Villa Diamante, beat-heavy plunderphonics from Robot Speaker from Tokyo, low end hip hop from Cote d Ivorie’s Di Africano, two slices of Mexican electronica courtesy of Jack’s Son and Vektor, and round off with a cut from a new reissue from Barcelona’s El Guincho.

DOWNLOAD: Slang Tang Ep.5 (August 2008)

JAHDAN BLAKKAMOORE – Go Round Payola [Guyana] | Buy
S13 – Echo Om & Jah Bongo [Russia] | Download
VILLA DIAMANTE – Surtek Collective vs Modeselektor [Argentina] | Download
ROBOT SPEAKER – Amoebic Love [Japan] | Info
DI AFRICANO – I’m High [Côte d’Ivoire] | Download
JACK’S SON – Wasted on the Sidewalk [Mexico] | Download
VEKTOR – Cotbell [Mexico] | Download
EL GUINCHO – Cerrando Por Tajarste [Spain] | Download

Slang Tang is produced & presented by Stu Buchanan.

Post image: Jahdan Blakkamoore via Facebook

Fat Planet on FBi Radio

The following piece was written at the conclusion of the original run on FBi Radio in 2008.  Fat Planet now broadcasts weekly on Australian national radio station, Double J.

In August 2003, I started broadcasting the Fat Planet show on the (then) newly-birthed FBi Radio in Sydney.  FBi was set up to take a unique view of Australian music, to reposition both the city of Sydney and the country as a place for new, original and innovative sounds – and to tarmac over the notion that we were good for nothing more than Kylie Minogue, INXS and Men At Work.  When I was approached to do a ‘world music show’, I opted to toe the line on exactly the same philosophy – to reposition the notion of ‘world music’, and promote innovation and experimentation from unlikely locations.

Of course, the whole concept of ‘world music’ is in itself a paradox – it is a marketing and sales term, designed for ingestion by Western audiences.  ‘World music’ means nothing to consumers in South America or Africa.  Not only that, but it is quite insulting to apply such a broad and meaningless term to well-developed and flourishing local music industries.  The term also generally implies indigenous and traditional sounds, and as I was quick to discover, most countries falling in the ‘world music’ category consider indigenous music in much the same way that Westerners treat their folk heritage – as something to be acknowledged, but mostly unrepresentative of the current musical climate.

Back in 2003, music was only starting to be distributed online.  Most labels and artists had a general mistrust about duplication and piracy, and had yet to wake up to the web’s full potential. Luckily, there were a few vanguards around the globe taking advantage of the medium – often from the most unlikely of places.  Those vanguards naturally became staples on the Fat Planet radio show – music that was unreleased in Australia, often only released in its country of origin, but nonetheless music that was refreshing, challenging and utterly compelling.

As so much of the show’s pre-planning was spent trawling the web, I inevitably started to post a few links on my personal blog, zero-G.  The first tracks went online in January 2004 (Finland’s LacklustreWang Inc from Italy and South African Portable taking early honours) and, a couple of months later, the content shifted to its own URL at Although this was something of an organic and common sense process, it was also partly inspired by the early pioneers of the mp3 blog who had started shortly prior – FluxblogSaid The GramaphoneMusic For Robots and, primarily, Swen’s Weblog, a curation of mp3 links from artists that had appeared in The Wire magazine.

Over a five year period, the Fat Planet site went on to feature many hundreds of artists, exposing new sounds and styles often for the first time in an English-speaking environment.  Fat Planet was also one of the first to expose emerging genres and feature tracks from scenes such as baile funkkudurocongotronics, balkan hot step, baltimorecosmic disco and Boston bounce.  Artists who received some of their early blog-love on Fat Planet included M.I.A., Ghislian Poirier, Juana Molina, The Knife, Filastine, Konono No.1, Frikstailers, K’naan, Mutamassilk, Edu-K, Esau Mwamwaya, Para One, Villa Diamante, Jahcoozi, Cardopusher, Sibot, Stacs Of Stamina, Tetine, Bostich, DJ C, Ramallah Underground, Sweat X, Peter Bjorn & John, Mochipet, Datarock, Annie and many more.

In January 2008, the Fat Planet blog was featured in the UK’s ‘Guardian‘ newspaper in Chris Salmon’s column ‘Click To Download’.  In referencing a number of mp3 blogs from all over the world, Fat Planet was dubbed “Best Blog for world music“.  The Guardian called the blog: “a fantastic melting point of cutting-edge international sounds; be it Danish rap-techno, Argentinean cumbia, Israeli dub or Chinese hip-hop. The range and quality of the music Buchanan tracks down is astonishing”. (read the column here).  Time Out also reviewed Fat Planet earlier this year, calling it “a stunningly diverse range of music from all corners of the globe”.

Writing now in mid-2008, Fat Planet is drawing to a close (for now…) as it’s time to map some new terrain. Thanks to everyone who tuned in to the show or the blog, and I look forward to bringing you along on the next part of the ride.

Here’s some of the chunkier content from the radio show, all yours to digest in perpetuity:


Lindstrom (July 2007)
Amon Tobin (February 2007)
Miho Hatori (January 2007)
El Perro Del Mar (January 2007)
Frederic Galliano, Kuduro Sound System (December 2006)
Annie (October 2006)
Filastine (October 2006)
Peter, Bjorn & John (September 2006)
OMFO (August 2006)
CSS / Cansei De Ser Sexy (July 2006)


Fat Planet Arabesque Mixtape (2006)
Fat Planet Year Two Mixtape (2005)
Fat Planet Year One Mixtape (2004)

FAT PLANET BLOG ARCHIVE (All 300 posts, give or take …)