Saturday, February 21, 2009

Scott C. on arty stuff


"That's the exact book I have!" Scott Campbell enthused from over in New York. "Jon Klassen turned me onto them. And [Charlie] Harper."

I was in the midst of interviewing this seriously talented guy for a feature on his own art over at Fun in the Murky, and somehow the spotlight drifted and fell onto Alice and Martin Provensen's insanely adroit illustrations for an old book called Myths and Legends.

I think I was equally excited—Campbell is the only other person I've met who's known about this book, let alone the Provensens; their work here absolutely did my head in when I was a kid, and all my primary school Greek warriors and vikings ended up looking like pale imitations of theirs.

These days the ones I draw with my daughter Cocoa are looking marginally like Scott's.

You can check out some of the Provensens' much-vaunted tome here. And click here to head over to the interview I just did with Scott. Alternatively, hit his own website.


"Jon Klassen is my big inspirational dude right now," Scott adds as an addendum, referring me to the man's "water thing" that he did, right
here.

Tuesday, February 17, 2009

Eat Tatoo Dead Tiger


Back in university, when I wasn't slaving over dusty history tomes at the Baillieu Library or down at the pub downing VBs with mates, I had a soft spot for industrial music—no, not the pretender for the genre from the 1980s and early '90s, pushed by bands like KMFDM and Leæther Strip, but the 1970s British movement of aural bowel movements, pushed through on spliced and bandaided tape-loops by Cabaret Voltaire and Throbbing Gristle, and later by Australian acts SPK and Orchestra of Skin and Bone.

So, obviously I'd also been an admirer of like-minded U.S. label Auricular Records for quite a sizeable chunk of their 20 year history, and more recently I got a reminder about them from my mate mAth Lewis, a.k.a. Noisepsalm, who released through Auricular in 2008.

Late last year, I got in touch with Alan Herrick, one of the founding people behind the imprint and also a member of Nux Vomica, and found an incredibly approachable and open-minded guy who was suddenly encouraging me to send through tracks.

I bundled together 19 tracks of some of the more expera/noizy/silly cut-up stuff I've rattled together under almost 20 different aliases, some of which were cut in 2008; others way back in 1998. Alan liked what he heard, and hey presto! ...we have the collection out on CD and digital download through Auricular as of Friday, 13th February.

Eat Tatoo Dead Tiger is the moniker I gave to the 19-tracker, and this isn't a case of misspelling, honestly—it's named after my favourite t-shirt, a sublimely bizarre tee I bought a few years back in a discount store in Kamata, in downtown Tokyo. That tee is also the cover art.

The music on this release is definitely not my Little Nobody style (as all over the place as that can get), but steers more back towards those aforementioned grand masters of industrial iconoclasm, mixed in equal bits with reverential nods towards (and rather desperate attempts to be like) Si Begg, Speedy J, Cassetteboy, Basic Channel and Tal—along with allusions to unrelated heroes of mine like George Sanders and Orson Welles, and old '50s sci-fi flicks.

Whether or not it gets anywhere near these far more talented people is open to conjecture. I'm also open to assignations of crap schlock, if that better captures the over all result here.

Thursday, February 5, 2009

IF? Records now online @ Input-Output Inc.


We've bitten the digital bullet once again, and decided to expand the online minor-league evil empire... by one.

From January 2009, all upcoming IF? Records release will be available through the wunderbar types at Input-Output Inc., along with a percentage of our existing back-catalogue and ongoing releases through Addictech; also, look out for exclusives through both. And IF? will also continue to collaborate with Hypnotic Room back in Oz.

Upcoming?

Releases including stuff by Little Nobody, Alone Together, Bitch Shift, Enclave, Son Of Zev, Koda, E383, Biochip C, Paul Birken, Patrick Pulsinger, Jammin' Unit, Gene Farris, Funk Gadget, Kana Masaki, Veronica du Lac, Bill Youngman, Pat Stormont, Zen Paradox, ABiS, Tunng, DJ Hi-Shock, Eri Makino, and others.

We're not going to be available through Beatport.

You can also find out more about the benefits and schlock horrors of the digital download phenomenon at Fun in the Murky, with comments from Dave Tarrida, Si Begg, Shin Nishimura and Cem Oral (Jammin' Unit).

Wednesday, January 7, 2009

Fun in the Murky


Bloody brilliant.

One of my own favourite blogs/sites for a long, long time is Trevor Wilkes’ Fun in the Murky forum, which dabbles mostly with more cutting edge tangents of electronic music, so-called wonky techno (tho’ that phrase is getting a wee bit long in the tooth!), and free download sets from very cool people via Bleep Radio. Trev also gets to wax enlightened about some inspiring and essential musical directions.

So, I’m hugely chuffed to be about to contribute to this site also, from January 2009—the guy seems to be under the impression that I can string together a few sentences that (a) make sense, and (b) people might actually want to spend time reading.

Lordy, I’m not one to shatter such wonderfully open-minded delusions.

Because I’m so bloody unoriginal, that section on the site will also be called (surprise!) Iffy Bizness. Stay tuned—I, for one, am actually all excited. Believe it or not. 2009 looks like being a "gee whiz" year after all!

Friday, December 26, 2008

The Dead Lego Project


The Dead Channel posse is a net-label based in the north of England (in Leeds, actually) which aims to serve as a vehicle for the transmission of electronic music that has little, or no, other outlet. They feel that lots of amazing music is never heard due to lack of such an appropriate outlet, and aim to provide one for as much quality electronic based music as they can.
Their releases can be downloaded for free in high quality MP3 format, and include full-colour artwork, as well as embedded art for MP3 players. The site is updated with new releases on a regular basis, and news can be found on their dead-channel blog.

Just a few days ago, Dead Channel released the sizzling Lego Project compilation, and they’ve released an array of other cool music over the past 12 months, all of it FREE.



Iffy Bizness forced a confession of sorts out of these people just before Christmas, and this is what they had to say:

How was the label set up, what was the underlying purpose, and does this initial inkling continue to be your modus operandi?

"Well, the label was set up by me (Chris Kubex) and my housemate, Ant (Orange). We’re both part of an electronic music collective here in Leeds, England, called Gonzo. Dead Channel was initially developed as a platform that Gonzo artists could use to share their music, and gain exposure from it. But the quality of unreleased music we began to be exposed to, not just within Gonzo, but from all over the world as people sent us demos, meant we ended up releasing stuff by artists from America, Greece and Japan, as well as from Leeds and the UK.

"The internet is the new frontier in terms of where people go to find new music. We’re happy continuing down the path of offering high quality, free electronic music releases, as it’s proved to be the most successful way we’ve found to get the music out there and get our artists noticed."

What are the perimeters of the label - if any?

"I guess, in musical terms, we tend to favour the outside edges of mainstream electronic music; not veering far enough into the experimental to seem pretentious, not veering far enough into the mainstream to be considered ordinary or boring. At least that’s what we try and do, but on an unconscious level. We get given or sent a lot of music, and we just release the music that strikes us as interesting.

"As far as design goes, the perimeters are slightly more rigid. We set out with a resolution to make the quality of the releases high, even though we were offering them for free. So all come with full-colour CD artwork (if you choose to burn your own) and embedded art for iPods and media players. The design aspect plays a big part in Dead Channel and indeed Gonzo, and we do tend to favour darker, more tech-orientated imagery. It also seems to suit a lot of our musical output. We do try and make sure however, that we don’t appear to be overly serious... that’s what releases like One for the Ladies are all about."

What actually is Dead Channel music?

"Well, I wouldn’t say that there is a Dead Channel ‘sound’ per se, but like I said above, we seem to sit on the outside edge of mainstream electronic music, between the experimental and the dance floor, veering occasionally like a drunken person... or something.

How would you assess the label’s progress in 2008?

"It’s been really good; we’ve definitely been surprised by the how Dead Channel has grown in its short life. The response from people has been really positive, and we’ve had help to spread the word of Dead Channel on an international level from artists such as Little Nobody, Dimomib, and Noisepsalm.

"We’ve also been happy to bring our local artists to a wider audience. People like Micoland, Prod, Sofaboy... I have to stop here because the list would get too long; we’ve been aware of the talent base here in Leeds for some time, now we’re just happy to share it with a wider audience."

Which artists do you work with, and how did you get involved with one another?

"Well the Gonzo collective all have different backgrounds and come from all over. Mostly, people met while at university, or after moving to Leeds from various other cities. The area of Leeds we all live in is quite bohemian, and conducive to spending life being creative, making music, putting on parties and getting by how we can. We all share this ethos, so naturally gravitated towards one another, finding a shared love of electronic music, art, drugs and debauchery.

"The main core of Leeds-based Gonzo artists connected with Dead Channel include myself (Kubex), Ant (Orange), Gwylo, Micoland and Naffdogg, but me and Ant take care of the general running of the label. We’ve also got artists from far and wide, such as: Dimomib (Greece), Noisepsalm (USA), Little Nobody (Japan) and Caulfield (London) to name a few."

What plans do you have for 2009?

We have some exiting releases that we’re planning on putting out in the early part of next year, including a new EP from Leeds legend—and former Rephlex artist—Headcleaner, a new album from Gonzo lynchpin, Gwylo, and new releases from some of our other established artists. We’ve also got some new compilations we’ll be working on, as well as introducing some brand new names over the coming months.

"We also have a new monthly Gonzo party happening in one of the most exiting clubs in Leeds from January, and there has been talk of possibly hosting a Dead Channel event sometime next year, bringing together the extended DC family. We have some exiting events planned for summer too... buts let’s not get ahead of ourselves.

"(Semi) regular updates on Dead Channel and Gonzo can be found by joining our Facebook group, or by visiting our blog."

Any special messages for all the kids reading this at home?

"Er... download our music? It’s cheaper than booze and fags. Hope this is OK; got a bit stuck on this last question!"

Wednesday, December 10, 2008

13 Years of IF? Records

Z-13.1: 13 Years of IF? Records, Vol. 1
Various Artists
(IF? Records - IF046)


It’s somehow appropriate that this new compilation from IF? starts off with a brand new track by current Melbourne electronic music enfant terrible, Pat Stormont, and it finishes on a track recorded in 1995 by Zen Paradox—the same city’s undoubted techno/electro elder statesman, and a man still amazingly relevant 13 years later.

Which is exactly how old IF? Records itself is this year; the baby that was also kick-started - again in Melbourne - in 1995, is now an unwieldy teenager.

BACKGROUND GUFF

Over the years, both in the studio and on the live stage, IF? has worked closely with fellow Melburnians Steve Law (Zen Paradox), Voiteck, TR-Storm, Little Nobody, David Haberfeld (Pura/Honeysmack), Artificial, FSOM, Q-Kontrol, Adam Raisbeck (Soulenoid/Sense), Guyver 3, Son Of Zev, Isnod, Nordcore, Blimp, David Thrussell (Snog/Black Lung), Beam Up, DJ Fodder, Kandyman, Amnesia, and Mute Freak, and more recently Pat Stormont, Bitch Shift, Cuznmatt, and Enclave.

Since relocating to Japan in 2001, we’ve also taken on board a wad of cool Japanese artists including Captain Funk (Sublime/Model Electronic), Toshiyuki Yasuda (Megadolly), Magnet Toy (Trope), Mumeishi (TTAK), Yamaoka (Holzplatten), Dick Drone, Admiral Anderision, Masaya Sasaki, Shin Nishimura (Plus Tokyo), Naotoxin, CHIZQ, and Alone Together.

Other international artists involved with IF? during the past 13 big ones (or set to in 2009) have included Si Begg, Tobias Schmidt, Dave Tarrida, Thomas Heckmann, Biochip C, Jammin’ Unit, Jason Leach (Subhead), Pnau, Cinnaman (Dirty House), DJ Hi-Shock, Pocket, Brixton, Tal, Steve Cobby (Fila Brazillia), Dr. Walker, Gene Farris, Paul Birken and Steve Stoll.

This time around, the intention was not so much to glorify the label’s 13 years (which probably wouldn’t have a hope of standing up to such glorification, anyway, given the slack way in which it’s been run over the years by this particular hack), but to continue what we’ve always tried to do: Showcase our current favourite artists (especially new ones) and musical directions, give diversity a healthy shake, and put the spotlight on our city of birth, Melbourne, along with our adoptive home in Japan—then the rest of the world as well.

The brilliant artwork is by IF? flyer artwork veteran and former Zebra mag cover designer, Haydn Dean, at Ennis & Perry.

Cheers to all the artists involved, and for god’s sake go check out their own music. These guys seriously rock.

COMPILATION AVAILABLE NOW ONLINE EXCLUSIVE TO ADDICTECH:
http://ifrecords.addictech.com


TRACK-LIST

1 Pat Stormont - Badly Grounded
2 CHIZQ - Broccoli
3 Jammin’ Unit - Where Distinguished People Congregate (2008 Version)
4 DJ Hi-Shock - Dark Pop
5 Jason Leach - Decomposed (Little Nobody remix)
6 TR-Storm - Sulphur Burn
7 Little Nobody - Bonny Voyager (Veronica du Lac remix)
8 Son Of Zev - Flyboy
9 Pat Stormont - You’re A
10 Xtronik - Leal
11 Sebastian Bayne - Driving Sideways
12 Little Nobody - Metropolis How?
13 Bitch Shift - Wicked Pitch Of The West (Schlock Tactile remix)
14 Son Of Zev - Missing Parts (Ernst Borgnein und Wolfgang Klein’s Last Cadaver mix)
15 Zen Paradox - Tubetribe

You can find out more about our aging label over on Discogs.

WAYWARD VIDEO-CLIP OF ONE BIT OF THIS COMP:

Thursday, November 27, 2008

Alone Together: The Beginning of Human

“We make techno music like we draw manga!”

Yum.

We have a brand-spanking-new release knocking about this week, through our rambunctious label IF?, a digital download offering available exclusively via Addictech, and it’s from Japanese artist par excellence (as the French mutter), Alone Together.

Also known as Yuki Ota, he’s one of the truly innovative (nice) guys here in Tokyo, and even Toshiyuki Yasuda thinks Yuki’s unique and crazy. We consider his stuff wild, scattered, amazing, eccentric, and way way cool—precisely IF?’s cup o’ tea.

Yuki remains deceptively low-key about his occasionally madcap electronic sounds. “I am a broken piano player,” he says on his MySpace site. “I practice Broken Piano theory in Alone Together.”

Yuki also informs that he plays (and creates) pop music that’s not currently part of the Alone Together play-list, using his real name as the production alias.

Yuki’s debut Alone Together EP is titled The Beginning of Human, and you can check out the video (above), or samples of his tracks online @ the IF? d/download site

Iffy Bizness: Who or what is your No. 1 inspiration when you make music?
Yuki: “Computer technology.”

Some people compare your music with Si Begg, Toshiyuki Yasuda, Cassetteboy and Luke Vibert. Are they influences?
“I didn’t know them. But I searched for them on YouTube, MySpace... Their music is very individual and experimental. I like their music.”

What exactly would you call your own music?
“I call my music Broken Piano and Sound Collage.”

So how is it unique?
“This is a difficult question. I make the music that I want to listen to. I don’t make music when there has already been the music that I want to listen to in the world. There may be some kind of connection there.”


What
s your favourite Japanese action movie?
Battles Without Honor and Humanity, by director Kinji Fukasaku. Quite simply it’s a cool and clear movie, and Bunta Sugawara is wonderful.”

Do you like J-Pop or Enka music?
“I like some Japanese musicians—especially CHARA. I really love her music and a voice.”

Whos your favourite Japanese musician?
“CHARA (チャラ), Shibusa Shirazu Orchestra (渋さ知らズオーケストラ), and Kazuki Tomokawa (友川かずき).”

In a grand master bout between Godzilla and Mothra, who’d claim the golden glove?
“I’ve never watched any of those movies.”

Whats your favorite Japanese food?
Soba.”

Finally, why is it that Japanese techno and electronic music is so darned cool?
“In my opinion, the Japanese cannot sing like James Brown, and we’re poor at using the body—but we like to imagine. The sequencer gave us the means to express that imagination through music. And we make techno music like we draw manga!”

Thursday, November 20, 2008

Robot crooner



Robo*Brazileira is my singing alias, a fictitious Brazilian robot,” Toshiyuki Yasuda patiently explains to the unenlightened. “For me, the robot is one view-point with which to see ourselves, as humans. To see us cautiously, I think I must have external eyes.”

Thus espouses one of Japan’s best electronic musicians, a man revered equally by Si Begg and Uwe Schmidt (Atom Heart, Señor Coconut)—and by me.

There’s a brand-spanking-new insight online:
Beatportal interview with Toshiuki Yasuda.

Monday, November 17, 2008

Toho Studios, Japan


OK, so you’ve seen the famous logo, and maybe you’ve been privy to essential Japanese classics cut in this monopolizing studio system.

Located in a surprisingly wealthy part of Setagaya, here in Tokyo, is the sprawling home of Toho Studios. Not only is Toho the largest and most famous film studio in Japan, but it’s the owner of one of the more internationally famous film logos, pretty much on par with MGM’s roaring lion, for those of us more inclined towards Asian cinema.

On location at the studio, you’ll discover a collection of sound-stages, outdoor arenas, Toho cattle-branded milkcrates that’d sell for a wad on eBay, and massive warehouses—plus a stream lined with gorgeous cherry blossom trees, all of it originally set up in 1936 by railroad and showbiz entrepeneur, Ichizo Kobayashi.

After pumping out propaganda films during World War 2, Toho overcame a brush with bankruptcy and disfavor with the American occupation forces to unleash a wad of critically successful and international regarded movies by Akira Kurosawa, such as this blog’s ongoing infatuation, Seven Samurai, a scene from which is now boldly embossed across the outer wall of the studio (see happy snap attached here).

It’s at least 10 meters high, and you can’t miss it when you visit.

In 1954, Toho also changed the science fiction world when they released the first Gojira movie—better known to you and me as Godzilla—and followed up with over two dozen sequels.

Toho’s star has waned in recent years, but the studio continues to produce movies in conjunction with Japanese TV companies like TBS.

One such collaboration has been the upcoming Masahiro Nakai/Yukie Nakama WW2 drama, 私は貝になりたい (Watashi wa Kai ni Naritai), a movie to be released in Japanese cinemas on Nov. 22nd, but which oddly keeps changing English titles, from I Want to be a Shellfish to, more recently, I Want to Return to the Family.

Toho is also a major distributor for smaller production houses, like Asmik House—the company that unleashed the Ringu movies—along with anime studios Production I.G and Studio Ghibli.

Wanna see more of these venerable premises? For an automated guided tour, head here:
http://www.tohostudio.jp.

Sunday, November 16, 2008

'Robota' is now out there, McDuff!


















LITTLE NOBODY feat. ROBO*BRAZILEIRA "ROBOTA"

(IF? Records/Hypnotic Room)

Some covert obsessive-compulsive angles don't change, like the rather scatter-brained Little Nobody infatuation for things robotic (and rusty tin ones, to boot).

The name of the new Little Nobody EP is 'Robota', and for this one we shanghaied Japanese producer Toshiyuki Yasuda (one of Si Begg's favorite musicians, and who just finished working with Señor Coconut, a.k.a. Atom Heart) into the arrangement, to do gorgeous, robot-style vocoder vocals as Robo*Brazileira.

The resultant track, with accompanying remixes by Funk Gadget (that's me again, under another silly alias) and Dick Drone, was released today in the digital download terrain via IF? in conjunction with Hypnotic Room, on Beatport, etc, and it's just been remixed by Steve Stoll and Jammin' Unit, so look out for those wild versions early on in 2009.

In the meantime, the rather crazy original version here is already getting some club and radio airplay in Japan and over in the UK, as well as on 2SER in Sydney and 3PBS in Melbourne. More info and feedback from fellow DJ/proddies is online at Hypnotic Room here: http://www.hypnoticroom.com/hroom019.html

We also just got a review from those fellow misguided souls at Robot Société magazine, which we'll use here for a semblance of propaganda rather than ranting on ourselves:

"Welcome to the future, old school robotic style - think Underground Resistance lobbed back into the soundtrack for Forbidden Planet, tin-pot robots from the '50s let screw-loose within a 21st century tech/electro studio, thereby creating future-funk-breaks never before encountered this side of Isaac Asimov's id. While the humor and the playfulness are oh-so-gleeful, the technical virtuosity and depth of imagination, along with the canny understanding of an open-minded, carousing dance floor, are themselves superb."

So, what to expect?

Check out Hypnotic Room's site for freebie sample sounds, or head off to the YouTube & MySpace clips (blogged below) for a dose of Robota zaniness. Stylistically, the Andrez + Toshiyuki mix is waywardly and loudly barnstorming tech-breaks, while Funk Gadget goes more kitsch-mechanical, the sparser moments colliding with killer, machine-based wind-up frequencies. Dick Drone heads off in grander, more ethereal, clicky and glitchy territory.

track-list

01. Robota (Andrez & Toshiyuki Mix)
02. Robota (Funk Gadget Remix)
03. Robota (Dick Drone Remix)

Something for all the disconcerted family!