Biz is one of Australia’s pioneer techno DJs and producers, having worked with musicians such as Juan Atkins, Richie Hawtin, Aphex Twin and Sven Vath.
As a producer Biz has released over 20 records worldwide thru UK and European distributors, and has remixed Green Velvet’s La La Land for Ministry of Sound.
Currently Biz is concentrating intently on production and has a vinyl distribution deal with Crosstalk in Chicago.
He also has an album coming out on Orlando Voorn’s Night Vision label, with remixes by Orlando himself.
Alexander Noakes is both a DJ and live performer who currently resides on The Gold Coast, Australia.
Since the late 90’s he’s blended live improvisation and 3+ deck mixing but also performs straight live as ‘Pacific Voltage Club’, the output of which is included in his personal Soundcloud account.
On the production side he’s remixed for Intrusion Records (France), Cerebelo Records (Brazil) and Din is Noise (Lebanon), as well as managing his own imprint, Adaptogen Audio where his freshly released Beyond EP can be found.
Hello and welcome to back to Bomphcast, episode 48. Melbourne has sprouted yet another conditioned tributary to the local techno scene. Edward Richards describes his productions which he says “follows a deep and hypnotic archetype, heavily relying on percussive elements and found sound…”. You may have caught one of his set recently as hes supported Takaaki Itoh and Dax J within the past few months. Edward also performs as a live duo under the name SLNTJNGL.
Edward has curated this vinyl only mix, taking selectrions from a well organised collection of records. Big thanks to him for putting this together.
Craig McWhinney (Alias: Vohkinne) brings to you the direct taste that he’s pushing in Melbourne at the moment in the form of a recording from a Bunker Music event in October.
He’s a seasoned Melbournian techno DJ and producer with releases on Brendon Moeller’s Steadfast label, Melbourne’s Haul Music and his own Atrophic Society label.
Our last reminder for tomorrow night’s first Bomphcast party. $5 entry – Free shot upon arrival – $3 pots till 12 and extended 3-4 hour set by Jake McDonald . Get around it.
Details here: https://www.facebook.com/events/249928612076357/
Dave Stuart is a humble man who has fallen into a professional DJ and booking agent life through sheer enjoyment of electronic music. This quote from his RA profile is all the info you need for his Bomphcast: “The music I play is the music I love, pure & simple, I play from the heart…I strive to find the most beautiful deep melodic house & techno for my DJ sets, sometimes driving, sometimes deep & dubby”.
As well as being very well known in the Australian scene, Dave has also played the European MOXXOM festival in Dresden and in multiple Berlin haunts such as Tresor, Golden Gate and Chalet.
His booking agent side sees him curating the regular club night Something Else at the Burdekin in Sydney where many prolific DJ’s have made appearances thanks to him.
Prepare for battle. For the 31st podcast, Lyon based vinyl label, webzine, events organizer and techno militia present our ears with a high energy mix recorded at Berlin’s Tresor.
Musically, CLFT Militia they take heavy inspiration from the original sounds of Techno and meld them together with modern musical ideas to create a Techno experience that’s forceful, cutting edge and rave like.
These guys are all about Techno, an observation that’s witnessed through their critical involvement in the greater Techno scene through DJ’ing, producing and supporting cutting edge Techno music all over the world. This mix is of course purely vinyl.
We’re always proud to present hand selected techno music. But this is a double whammy. Not only is ACM a local Melbourne musician, but he also plays live using analogue hardware and no computer.
He originally begun as a DJ (and still does when booked to do so), but transitioned to a hybrid DJ/Live setup after seeing the way Jeff Mills performed in 2013. Since then, he’s gone down the full analogue path for his live sets.
We normally request mixes/recordings to be done exclusively for this podcast, but with the amount of recent articles downplaying the effectiveness of live techno, we are compelled to offer a solid counter argument.
As alluded to above, this is a recording of ACM’s set at Revolver Upstairs on the 13th of March.
If you like what you hear ACM has upcoming gigs at Revolver Upstairs, The Mercat Basement and The Substation.
A run down of his setup is quoted here from his interview on whonosmusic.com:
“The heart of my live show at the moment is the Arturia Beatstep Pro – this is the main sequencer for everything. For drums I use a Vermona DRM1 and an MFB 522. The majority of my bass lines come from the Moog Slim Phatty but I like to take the Korg Volca Bass and Mochika as back up. For arpeggios, pads, leads and all sorts of other whacky stuff I use my Roland System 1 and Korg MS2000r. I’ve also got a Kaosspad in my setup for its variety of delays and reverbs. That’s everything at the moment.”
Mix mastered by D-REX.
Back Burners are a new live and production duo. Having only been producing together for 7 months and getting their live rig up and running in the last 5 months, it’s exciting to hear the quality they’re already putting out. This Bomphcast is a 100% live improvisation with a Eurorack format modular synthesizer, Moog Mother 32 and a TR8 drum machine. We can vouch for it being 100% live as we were there when they recorded it at their home studio.
Both in their productions and their live improvisations, the duo focus strongly on the development of rhythms to engage the listener and moments of melodic substance to help maintain attention.
Chiara Kickdrum is a composer and DJ from Torino, Italy – now residing in Melbourne, Australia – who begun her musical life with classical piano lessons. After moving to Melbourne, her musical tastes shifted more towards electronic music, which has in turn brought her to the Techno shores and to your ears today by means of this Bomphcast.
While it could be said she’s most musically active in the techno realm at the moment, Chiara has also made music of art installation’s, TV advertisements and film through her work at Electric Dreams in Melbourne. These can all be heard as well as information of upcoming gigs and past/future techno releases on her website below.
For more insight into Chiara, you can read her Q&A with Thump from 2014 here.
Hidden identities and non-existent internet presence will either aid or hinder a producer. This is because the music becomes the one offering that’s relied upon to bring audiences back, instead of being assisted by overactive social media feeds pluging gig and mix announcements. Don Blaster is an example of someone who’s from the anonymity path and doing it well.
He comes from the Melbourne based duo, Back Burners, who are predominantly a live act and production team. However, he also has a lust for spinning tunes. If you were to only know Don Blaster from the Back Burners operation, you wouldn’t pick that he’s not only a slayer of the TR-8, but also a heat bringer behind the decks as you will hear with this two hour mix.
Don Blaster can only be reached through Back Burners.
Auster – Cosmin TRG
Don’t Stop No Sleep – Radio Slave
Track 2 – Kaelan
Trow (Sterac Remix) – Maan
Sc1 – Rumah & Progression
Silenced Part 2 – Mark Broom
Chicken Understood (Truncate Remix) – Heiko Laux & Diego Hostettler
Contrane – Emmanuel
Presence – Tadeo
Untitled – Back Burners
Untitled – Back Burners
Untitled – Back Burners
Untitled – Back Burners
Untitled – Back Burners
Motion The Dance – Untold
Pad Mode – Truncate
Camberwell – Elyas
Discharge – S100
Untitled – Back Burners
Matrix 1.1 – IXM
Plain – Marcel Dettmann
Vultura – DNGLS
Phloem – Back Burners
Untitled – Back Burners
No Exit – Planetary Assault Systems
Pericycle – Back Burners
SCTR – Regal
Mentally Induced Action – Oscar Mulero
Lidya Birkett – Ryan James Ford
Odeon – Function
Untitled – Back Burners
Primary Xylem – Back Burners
MR2 – NX1
The pace slows down a little this fortnight, but the vibe remains high with a selection of premium tracks expertly stitched together.
Advanced Human began his career in the early 90’s during the rave era in Australia under the name of DJ Hi-Shock. Now, he focuses more on producing and running his label, Elektrax.
Head to the artists page of the Elektrax website and feast on the massive amount of names. It’s an immediate beginning to discovering many new sounds from all over the world.
Reminds me a lot of ubu.com, essentially a data base for weird stuff (and sometimes not so weird).
This is a definite mix to download for car trips where you don’t want to be going 100km/hour. So maybe flick over to it when you’re driving through school zones.
Jordan Louis – Binkie’s Jam
Tarbeat – Synoptic
Coeter – 98
SERi – Unknown Pressure 1
Mattias Fridell – Bengal
Advanced Human – Charisma
Tarbeat – Winter Noise
Pjotr G & Dubiosity – Closure
Antonio De Angelis – Singular Dream
Coeter – 148
Tarbeat – Synoptic (JC Laurent Remix)
Salvador Roibon – Master of Distraction
Micol Danieli – Disclosure
Pjotr G & Dubiosity – Anxiety
JC Laurent – Mighty Wind
Pjotr G & Dubiosity – The Fixer (Mary Velo Remix)
Originally from Glasgow and now residing in Melbourne is the DJ and label owner, David Keane (Batton). In terms of nocturnal life, he’s made numerous appearances at the super crispy Bunker parties here in Melbourne as well as playing along side DJ’s such as Rebekah and Clouds. During the daylight hours he operates his label, One4sevenone, a label that’s aimed at allowing up and comers to have their music heard.
Check the Q&A below the mix for a further insight into Batton.
How would you describe the differences between the Melbourne nightlife/Techno culture and the culture in Glasgow?
I think both cities are pretty similar in relation to their respective techno scenes. Due to the geographical location, club nights in Glasgow tend to have several international artists playing each week, and sometimes on the same night. Slam’s club night – Pressure for example usually has between 4 – 6 well established artists playing on the one night. My last Pressure (March 2013) before coming to Melbourne had Len Faki, Nic Fanciulli, Nina Kraviz, Paul Ritch, Slam and Silicone Soul all playing on the one night. In Glasgow, clubs will close at 3am unless on a rare occasion a late license is applied for and the club will close at either 4am or 5am.
As a result of packed line-ups and 3am closing times, I don’t think local artists are given the opportunity to play at these types of nights in Glasgow. This in itself is a massive contrast to Melbourne’s scene as bigger nights will have one or maybe two internationals playing, and clubs don’t have that ridiculous 3am license. This opens up opportunities for local talent to play at these events, and in turn support some of their favourite artists in the scene. I myself have been given the opportunity to support Rebekah, Clouds and more recently Answer Code Request … Which has been an extremely rewarding experience.
How have you noticed the local scene in Melbourne grow since you first came to the city?
When I first arrived I was immediately aware of the established promoters such as Stable Music, Melbourne Techno Collective and Novel. But I quickly became aware of the newer crews such as Bunker, Stranger, The Public Works Department and Pleasure Planet.
I can’t really comment on the scene pre-2013, but seeing these newer collectives bring international artists to Melbourne is really exciting. I’ve been closely associated with the Bunker crew and have had the pleasure of seeing them grow each month and booking internationals like Xhin, Mary Velo, Developer and Norman Nodge, the fellas are going from strength to strength. Quick mention on the work of PWD of The Public Works Department, bringing the likes of Rrose, Milton Bradley and Kr!z to Melbourne as well as being involved in various other nights across the city.
The newer collectives are breaking the norm and offering Melbourne an exciting alternative to their clubbing experience.
What made you decide to move to Melbourne?
D-Rex is a Melbourne local who destroys craniums. He’s been the first to break into our charred category and has won himself a round of thunderous applause from Anhur, the Egyptian god of war.
With recent signings to management company, The Public Works Department, and featured remixes on releases like Disconnect it’s easy to see that D-Rex will be a major part of the driving force of techno in Melbourne.
If you’re liking the heat of this mix and are heading down to Earthcore this year, you’ll be able to catch him at the GFR Stage.
But, as he can speak better about himself that we can, below is a Q & A with D-Rex himself.
D-Rex’s Anniversary Mix – 07/07/2016
D-Rex’s Debut Bomphcast – 09/07/2015
Your Bomphcast mix is pushing the upper limits of charred. What’s drawn you to this harder side of techno and what emotion does it evoke in you?
Hi, so i suppose the reason i’m drawn to the hard side of techno is because i grew up listening to metal and hardcore, distorted sounds and high energy are characteristics i like in my music. This style of techno makes me want to cut loose and dance my feet off, it’s a release of all sorts of emotions.
How would you describe the Melbourne techno scene at the moment and which direction do you think it needs to take? Where does it sit in the Australian music culture?
I love Melbourne’s techno scene at the moment, it’s thriving on both internationals and quality local artists and DJs. There’s always so many parties happening every weekend, it’s really great. I just want to see it keep growing and to see some of the local producers start to build international profiles.
Club culture goes hand in hand with the techno scene, yet the two are very distinct things. Whats your comments on the current Melbourne nightlife and club scene? Is there something that Melbourne is missing in its club scene?
Melbourne hasn’t exactly got a weekly techno night which is something I’d love to see. I don’t really go clubbing, I only really go to techno events wherever they may be, a weekly techno party would be great though.
You run a hybrid live set when you play. What’s the inner workings of your set and what’s the concept behind it?
The hybrid set was inspired by Chris Liebing and Surgeon. Currently I run 4 decks on Traktor controlled by a Xone K2, which I have synced to my modular synth via an Arturia Beatstep. I layer up tracks in Traktor in a similar way to Liebing and then improvise additional sounds with the modular similar to how Surgeon played at Dekmantel last year. The set gives me the creativity of a live set and the flexibility of a DJ set, I felt myself becoming a bit of a one trick pony playing my straight up live set.
Since 1999 Andrew Boie has been spinning vinyls to the thoughtful nods of techno druids. Under their watchful gaze, he begun fueling the ovens with operations like his kansascitytechno.com as well as regular enamel tearing sets on Closer PDX.
We shot him some questions so as to get more of an idea of who he is and his insight is into the techno scene, read on below.
A mention should also be given to the detail in the track list provided. In this age where music sales don’t exist anymore, it’s humbling that credit is provided in such detail.
You’ve been playing techno and house since 1999. What drew you to the electronic sounds and made you want to get started dj’ing?
I caught the so-called ‘electronica’ thing that was going on around then. I was in the military at the time and made some friends who were into watching MTV’s Amp, Astralwerks, drum ‘n bass, Prodigy, Orbital, big beat…I was listening to all kinds of stuff but I remember 2 mix cds really got me: Josh Wink’s “Profound Sounds Vol. 1” and Richie Hawtin’s “Decks, EFX, & 909”. Those pushed me towards techno, it was only a year or so later before I was buying Cari Lekebusch and The Advent records. I was very hard-techno focused for a while but eventually branched out and started getting interested in various house sounds as well.
How is the techno culture the Midwest of the USA now compared to back when you started out in the scene?
When I first started in the late 90s in Kansas City it was crazy. There was a very strong house scene. There was decent warehouse party every weekend, if not two of them, often with multiple rooms. I remember going to shows in Omaha with 5 rooms. Techno was welcome too, this was when most techno DJs were playing super intense drummy records at 135bpm or faster, I miss sets like that sometimes. Around 2002 the RAVE act pretty much shut all that down very quickly. Nowadays in Kansas City the kansascitytechno.com crew and other people have been working hard to bring techno into the bars and clubs but it’s a bit of an uphill battle. Other places in the Midwest I think it varies, I see a lot of cool stuff going on in St. Louis, Iowa City, and Minneapolis. Since about 5 years ago I relocated to the Pacific Northwest, there’s all kinds of parties here especially in Seattle.
Having observed the evolution of techno over the last decade and a half, what are your thoughts on how electronic music has progressed over such a long time? What is important in a good techno beat these days?
This is a tough one to answer! Looking back the late 90’s I think people got a little too much into the fast drumtrax/schranz sound, and the mid-00’s weren’t that great either with the whole Minimal craze.
Bulaklak is a producer/DJ from Naples, Italy sporting the most labels to his name than we’ve ever seen. Comade Music, Consumed Records, Deepperfect Records, DTD Records, Frequenza Records, Hypnotic Frames Records, Hysterical, Kinetika Records, Little Helpers, Monique Musique, Moveubabe Records, Natura Viva, SUB Records and Theatre Records = 14.
He specializes in dark minimal techno with a natural focus on simplicity and quality. His mix is just this, but with a lingering sense of darkness being provided via spoken word samples.
His recent ventures include his Curly EP, a 21’st spot on Beatport’s Top 100 minimal tracks as well as heaps of remixes and original releases.
For the third edition of Bomphcast, we’re very happy to present and exclusive mix from local Melbournian heavyweight, Adrian Bell.
Adrian has been an integral part of the Melbourne techno scene with his ideology of dark, intricate and pumping techno. Operating through his collective, Bunker, Adrian has introduced us to top quality producers such as Developer, and after the recent 2nd birthday of the collective, it’s clear that Adrian is already charging the frontlines of techno culture in Melbourne. A pace that we here at Bomphcast love.
His kinship with electronic music can be traced back to the likes of Daft Punk, Justice and the Ed Banger crew, but through cranial evolution and a visit to the Berhain in 2012, he has arrived at the shores of Techno.
This mix makes it as clear as the azure sky of deepest summer, that Adrian Bell is a DJ that will have a deep impact on techno in Melbourne over the coming years.
Adrian has purposely shrouded this mix in mystery by keeping the track list to himself. The purpose of this no doubt being to allow the listener to concentrate on the mix as a whole, rather than on a sectional basis.…