Part 2 our our Stroboscopic adventure starts tonight with Lucy!
Online tickets close at 5pm today and will only be available on the door from then on. This tour has been 12 months in the making so I am thrilled to see it finally come to fruition. Hope to see all tonight for a celebration of electronic music!
After a successful Australian tour with Xhin (Stroboscopic Artefacts/CLR) TEA is proud to present the Australian debut of producer, DJ, published author and founder of the Stroboscopic Artefacts imprint, Lucy.
After wooing audiences with celebrated DJ sets and Stroboscopic Artefacts showcases at Berghain, Corscia Studios, Sonar and Melt! Festival, September of this year will see Lucy aka Luca Mortellaro tour Australia for the first time. His style of DJing has rapidly become known for its use of deeply dubbed textures layered betwixt lucid IDM expressionism and techno functionalism - a style too elusive and angular for any one genre.
Associated with a certain kind of techno—loud, visceral and exactingly scientific, Lucy is never one to shy away from the peak time, although equally in his element playing the ecstatic after hours. Lucy manages to refuse the obvious and satisfy dancefloors’ appetites for the unexpected.
In 2009 Lucy established the pioneering Stroboscopic Artefacts imprint which has since garnered international attention and emerged as one of the most exciting and forward thinking labels in electronic music. Stroboscopic Artefacts’ ‘compressed dub’ approach towards production and mastering has instantly lauded any SA release as “buy on sight” due to the introspective, extreme and experimental way in which its artists approach their music.
Perth September - 9th - Geisha Bar
Sydney September - 10th - Civic Underground
Melbourne September - 16th - Heritage Royal Melbourne Hotel
Saturday March 19th hAUL and TEA Music were proud to present Xhin, one of todays most thrilling talents in contemporary techno.
After a successful party in Perth the night prior, Xhin was ready to experience what Melbourne's techno community had to offer. hAUL Music chieftain Craig McWhinney took charge of warming Miss Libertine's ears and did so with a medley of style and grace helping in muster a feverish main room.
A master in the dark art of brooding and dusky techno, Xhin's genre bending and all inclusive set left no holes barred. UK electronica pioneers Aphex Twin (Caustic Window), Autechre, Squarepusher and Melbourne set starter Clark were rallied up against some of todays equally inspiring contemporary artists Sepalcure, Addison Groove and Jimmy Edgar.
Pic-White Walls Studio
Miss Libertine, ravenous for some raw, industrial and dub laden cuts were won over thanks to Xhin's selections of James Ruskin, Robert Hood, Traversasable Wormhole, Surgeon, Tommy Four Seven, Ben Sims, Lucy and of course the man himself.
Weighing things up in Miss Libertine's front room was everyone's favourite Aussie Mike Callander and local Melbourne jock Isaac Fryar. Together the two maintained a divertied and mellifluous vibe whilst giving shelter to those not bold enough to withstand Xhin's micro-progamming and virtuoso mixing.
Pic-White Walls Studio
Xhin was in no mood for slowing down and didnt until dropping Oni Ayhun - OAR003-B late on, closing what was an memorable night of eclectic electronic music. As OAR003-B slowly ticked down Xhin was left with the adoring cheers and woops from a faithful Miss Libertine and Melbourne nightlife. TEA's James Manning wrapped up what was an entertaining and educational night with some techno that you would deem appropriate for 4am onwards.
Pic-White Walls Studio
Special thanks goes to Lucrezia Invernizzi-Tettoni for taking these amazing pictures on the night. For more on White Walls Studio work check out DUST & DESSERT a magazine, book, blog, exhibition and studio run out of Sydney.
TEA's next party will be with the UK's JUG (autoreply/Vitalik/Release Sustain) at Melbourne's Loop Bar. Event details here
For a full track list of Xhin's set look no further then here.
TEA is proud to present the Australian tour of Xhin, one of todays most thrilling talents in contemporary techno,
Xhin will be hitting Australian shores for the first time on March 17th with his first show hosted by hAUL Music and TEA at Melbourne's Miss Libertine Saturday March 19th. (Perth 18th March TBA).
Supporting Xhin at TEA's very own Melbourne show will be hAUL and TEA representatives Christian Vance (hAUL), Craig McWhinney (hAUL), Mike Callander (hAUL) and James Manning (TEA). Whilst Melbourne’s Knee Deep collective of Toby Josef, Luke Bruin and Louis McCoy will have Miss Libertine’s front room Raffles for our Singaporean occasion, alongside G-Town’s Isaac Fryar.
The Singaporean producer is already a master in the dark art of brooding, dusky techno. Even his earliest forays into production were produced with a careful hand, eliciting a controlled pummel that quickly caught the ear of established heads: Speedy J, Luke Slater and Sandwell District’s Function are all paid up members of the Xhin fan club.
Following releases on German label Meerestief, Xhin was taken under the wing of Stroboscopic Artefacts boss Lucy, the result being a label-artist combination that pushes boundaries and defies categorisation. An upcoming long player for the SA and CLR imprints slated for 2011, has hAUL and TEA giddy with anticipation.
In addition to his own productions, collaborations with the likes of Schaffhäuser, US stalwart Jerome Sydenham and LX series with Lucy has ensured his star has risen further still. Indeed, if 2010 goes down as a breakthrough year for Xhin, 2011 promises to be stratospheric.
$20 pre-sale tickets are available for hAUL & TEA's Melbourne show through RA, Moshtix and TEA.
I recently caught up with the chuffy yet humble Tornado Wallace at his local Alley Tunes record store come coffee shop in Melbourne's inner east.
I spoke to the moustachioed maestro about his recent whirlwind trip through Europe, The Simpsons and his favourite tea to which the response was;
Chamomile with honey of course, maybe with a dash of cinnamon. Although there is something in tea which can lead to regurgitation if you are on a empty stomach, it happened to me recently. So on a empty stomach i can't have english breakfast and I love english beakfast, so look into that for me will you.
Read the rest of the interview I did with Tornado Wallace for Juno Plus here
It seems as if the past 2 years in Berlin has given Ed Davenport somewhat of a spark. His freshly pressed 'Centrality' EP on London imprint Autoreply is a perfect example of Davenport's innovative shimmer. Four the floor beats with a housey vibe, the perfect formula for any house head or techno boffin.
Davenport is no stranger to major record labels with releases and remixes on Liebe Detail, NRK, Poker Flat, Soma and Cocoon amongst a collection of others. His stripped back remix to Koljah & Oliver Deutschmann's 'Eaten Back To Life' featured on Len Faki's Berghain 03 mix and Alland Byallo, Guy J, Echonomist, Mark Henning and Patrick Bateman have all be given the Davenport treatment.
TEA caught up with E.D to talk Japan, Berlin's cheap eats, shacking up with Function and Earl Grey tea.
You've recently returned from a trip to Japan, how was that?
It was an exciting trip and very eye opening, Osaka is incredible. Techno needs no common spoken language – I really felt like I was communicating through music when I played! Hopefully next time I can factor in a trip to Australia too.
You're from Salisbury in the UK, tell us a bit about growing up there.
There wasn't so much of a scene there really but things filtered as it's not far from London or towns like Southampton or Bournemouth, which had some pretty good club nights and record shops. I was more or less on my own in terms of the music I was into and trying to make, this was around the age of 15 or 16. A small group of us did put on parties, turning local city halls, scout huts and rugby clubs into raves for a the evening. The parties had to end at midnight though, otherwise the soundsystem would have cost us double...Those were the days!
You now live in Berlin and have for 2 years. Can you give us an outsiders point of view on the ever constant influx of artists moving to the city?
Yes those 2 years have gone really quickly! Most ex pats have a love-hate relationship with Berlin. There are good reasons to be here, and then there is the missing home and friends part. I think the recent DJ/Producer influx is cool though, still. I mean, there's such a feeling of things going on here, I love it. Its a small town and there is a nice feeling of a genuine music community bubbling away under everyday life. Plus I think it's always good to have some healthy competition, people to share music and come together with.
And you are room mates with Dave Sumner aka Function.
Dave and I have become good friends since I moved in with him earlier this year. Its great, we are very respectful of each others space, and its very inspiring to have other working creatives around at home. We'll listen in on each other's new tracks, share ideas, stories. I'm lucky to have met him.
And Berlin is home now?
Yep, here to stay for the foreseeable future.
So you'd have your favourite city spots now?
I love the area around Schlesisches Tor in Kreuzberg. For some reason my existence in Berlin has always gravitated around there. Its not as smart as Mitte or Prenzlauer Berg, but there's more of a real feel and some great, cheap, delicious places to eat. Try Maria Peligro for authentic Mexican, or Transit for some great Portuguese food at lunchtime.
You were once working under Szenario. Quite a different sound compared to the bold bottom end your showing in your tracks now, is this turning into somewhat of a Ed Davenport signature sound?
For sure, and I'm happy to think that there might be 'a sound' forming. For a long time I was concerned that all my productions were too far removed, but as I kept working, I think I've learnt what I like and what works. Funny, I still like the Szenario name... I think I'm going to bring it back eventually!
You’ve released on a broad assortment of labels over the years. Tell us a about your relationship with London’s Autoreply.
I first got in contact with Dicken aka Confetti Bomb who runs the label after hearing an EP from Mark Henning & JUG, two friends from when we all lived in London. I was really impressed, and offered up some music. I really enjoy working with the label. Dicken is really enthusiastic, and you can tell he's not only got a love for it, but he really has things going in the right direction. I'm happy to keep working with him!
You also work with native instruments, tell us about your role with them.
I'm a copy writer a few days a week. I like to have some time away from music, in the 'real-world' – its a great company to work with.
And the 3 Good Doctors project with Agaric, Beaner and yourself. How did this come about and what was it like working with a troupe on productions?
It really came about through our friendship and Beaner's crazy-mad-wonderful imagination. Its not the easiest thing to collaborate, even with good friends, but its something that always inspires and teaches you useful things!
Any more 3 Good Doctors on the horizon?
Hopefully there will be more!
You also have a good relationship with Panoramabar.
I'm lucky that I've been able to 'have my say' now and again behind the decks. It's a hugely important club for the scene and a marker of where we are right now in electronic music. These days I've been able to go there less and less due to work and gigs, but I'll always have a huge buzz to stand behind the DJ booth.
Is Berghain next?
I don't want to speak too soon.
How has the live show been going?
It's really fun to do and I've had some good reactions, although it's not something I've fully mastered yet. I'm simply trying out ideas. In the future I'm planning to work out something more unique and interesting. I always think that its hard to be really 'live' standing behind a laptop and a few boxes. Live to me means vocals, performance, with others on stage. That's for the future!
What are you working on at the moment? Any new alias work?
I've just finished a few some new EPs which will be filtering though this winter; a 12'' on Len Faki's Figure SPC label, and some collabs with Oliver Deutschmann, as Davenport & Deutschmann. We've got an 12'' coming up on his label, Falkplatz, which is really techno, tougher and more classic sounding. Plus there's remixes from Jerome Sydenham and Brendon Moeller. That will be out in January I think. I'm also working on new material for NRK, with the next 12'' scheduled for early next year. I'm trying to space things out a bit more now as I'm trying to find time to work on what will be my first album. There's an NRK label night upstairs in P-Bar on Jan 28th. I'm really excited about that as it's the first night there that I've had a part to play in the choice of DJs. Playing on the night will be Nick Harris, Ian Pooley, Justin Drake and myself.
It's been over a decade of patients since Surgeon aka Anthony Child made his last incision into Australia's club scene and late October will see the techno's favourite Brummie play a slew of Australian dates.
With other forms of techno "down under" taking a noticeable back seat to the sound of Detroit, it's with excited ears and open arms that Surgeon's antipodal other Australia, prepares for Jacobin terror and British Murder....on the dance floor.
Off the back of his hailed Fabric 53 mix TEA caught up with the Counterbalance and Dynamic Tension doc to discuss some of Japan's best kept secrets, numerology, that dubstep thing and Taiwanese Oolong tea.
Your latest release Compliance Momentum featured the track 'The Crawling Frog Is Torn and Smiles’. Can you tell us a bit about the title and how it found its way to one of your tracks?
It's a literal English translation of the title of an obscure Japanese fetish movie. I love the way that Japanese directly translated into English can become strangely poetic and slightly wonky.
You were last in Australia over 10 years ago. Can you tell us a bit about your experiences when you were here last?
I remember being treated like a criminal by the Customs staff when I entered the country, to a degree that I've never experienced before or since. Once in the country, I found everyone to be very warm and friendly. I'm looking forward to returning at the end of October.
Your Frequency 7 collaboration with Ben Sims is primarily a live/DJ show. Can we expect any Frequency 7 productions in the near future?
If there are any Frequency 7 productions, they will occur quite naturally; nothing will be forced. That's the way the whole project works.
Earlier this year you played a 7-hour set with Ben Sims as Frequency 7 for Unit in Tokyo. How was it and are extended sets something you enjoy?
It was the 7th birthday of the party we were playing at, on May 7th, and of course we're called Frequency 7 so we decided to play for 7 hours. 7777 = numerologists' dream (or nightmare). It was very hard work, mainly because we were both suffering really badly from jetlag at the time. I felt like a empty shell at the end of it. I've done 6-7 hour sets before and they can work, but only in very specific situations and only when I set the tone and pace from the beginning of the evening. In a typical setting I can make a good connection and communicate everything I want to in a 2-hour set.
Your affiliation with Japan has been well-documented since first you first visited in 1996. You speak the language and with regular gigs and holidays you must have the inside word on some of Japan's secret eats and escapes, care to share any of your favorites with us?
My favourite ramen shop is 'Santoka Ramen' located at Gojo bldg 1F, 3-13-7, Shibuya, Shibuya-ku, Tokyo. Great sushi can be found at Sushizanmai at several Tokyo locations, but the one at Tsukiji fish market is best. For the outdoors, Yokokan Garden, Fukui is very peaceful. There is some great mountain hiking at both Mount Eniwa near Lake Toya, Hokkaido and Mount Nantai near Lake Chuzenji. Nikko Hoshino Yado (Ryokan/Onsen ) Traditional Inn is a great place to visit too.
In 2007 you mixed ‘This Is For You Shits’ as well as this year's Fabric 53 mix. The mix CD is somewhat a dying trend. Can you tell us a bit about your approach and process of finding and putting tracks together for mixes such as these?
They were very different projects, each with a very different personality. Each had a range of emotions and sensations that I wanted to communicate to the listener. I just followed that and the mixes came out the way they did. Very natural.
Industrial, new wave & post punk music seems to play a strong role in the development of music in the techno-ed cities of Detroit, Berlin and Birmingham. British bands such as Throbbing Gristle, Cabaret Voltaire and Depeche Mode are often cited as influences among many techno producers. How important do you think these styles of music have played on producers such as yourself?
Yes, they are a part of it, but just as much as, say, a book about composing music with tape recorders that I read at school.
After moving to Birmingham and starting up 'House of God' you went to playing parties across the UK and further. What was the transition like from playing your own city, to other cities, to the international touring schedule you have today?
Up until 1994 I played regularly in and around Birmingham and occasionally in other parts of the UK. After the release of my first record that all changed, and I was being asked to play in Munich and Berlin then Tokyo and New York. It really was quite a shock as I'd not travelled much before then. I still find it bizarre that I travel so much to play music. It's wonderful to be able to connect with people all over the world in such a deep way.
Tell us a bit about your current sets at House of God. How important are they to you, and do you prepare for these differently than other shows?
Nothing is ever set in stone before any of my sets. I always attempt to connect to the vibe of the people I'm playing too and go wherever that takes us. My sets at HOG often have a few more oddball selections and often reference older music I've played there over the last 18 years.
You were a resident a Berlin's Tresor between 1997 and 1999. This was an amazing and different time to the Berlin of today. Has being a resident at a club like Tresor during the late 90's influenced and defined you as an artist?
I learned so much as a DJ during my residency at Tresor, I find it impossible to put into words. After House Of God, it was my second DJ apprenticeship. In terms of my productions, I was very fortunate to have Christoph from Dubplates & Mastering who cuts all my music come to Tresor every time I played there to check out how the music he cut sounded and come up with new ways to make it sound even heavier.
Location permitting, techno played amongst a dubstep crowd can receive a mixed reaction. It is common today to see techno producers dabbling in dubstep productions, but even more so incorporating it within their DJ sets. Has this become more prevalent for you being British?
Some people need to get their heads out of their arses and clean out their ears! Whenever I hear music that excites me, I want to share that with other people, simple as that. Whose productions have you been feeling of late?
Oneohtrix Point Never, Emeralds, La Monte Young
What's next for Counterbalance and Dynamic Tension?
I am currently recording new material, possibly for a more "expanded" release than a 12". Both labels will continue to release at their glacial rate.
It's always nice to ask an Englishman what his favourite blend of tea is. Whats yours?
Taiwanese Nai Xiang - Oolong tea with a wonderfully milky fragrance.
