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MELBOURNE SYNTH FESTIVAL: THE HIGHLIGHTS

Posted in Blog, Melbourne Synth Show News    //    Post Date - December 5, 2018

The Melbourne Synth Festival (Nov 23-25, 2018 Meat Market, North Melbourne) is dedicated to all things in the world of synthesisers, DJ equipment and electronic music making. The inaugural show presented a wide array of gear, informative workshops and some wonderful performances.

Thanks to the performers, workshop presenters, the exhibitors and folks that came along to check it out. If you came down, let us know what you thought of the festival … what you liked, what you didn’t and whether you’d like to see something like it again.

Here’s our 2018 highlight reel.

Here are some other Melbourne Synth Festival coverage links:
Day 1 report
Day 2 report
The Gear
The Launch Concert

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MELBOURNE SYNTH FESTIVAL 2018: THE LAUNCH CONCERT

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 27, 2018

If you’re going to launch a synth fest, you may as well do it in style and that’s exactly what happened last Friday night in North Melbourne. The inaugural Melbourne Synth Festival kicked off with a fabulous opening night concert at the unique Meat Market creative and performing arts space. Melbourne-based vocalist, multi-instrumentalist and electronic producer Beatrice had the honour of opening the show, presenting the audience with an exhilarating set of her exotic, ambient beats. Beatrice had only landed back in Australia days before, after touring Europe with her other project Haiku Hands and took no time to stride into a groove.

David Haberfeld aka Honeysmack set up his rig in front of the stage, allowing the audience to surround him as he menacingly paced the room, summoning the spirit of his punk influenced acid house rhythms. Using all-analogue, old school gear, the legendary producer, composer, performer, DJ, promoter, academic and educator built a pulse and splashed his rude synth sounds all over it.

The delightful Emah Fox took to the stage next, armed with a teal coloured keytar and delivered a powerful set of melodic yet intense synthesiser pop. Backed by Nat Grant on drums, the pair conjured an explosive blend of rhythms and beats, taking the audience along with them for the ride. As Emah told Australian Musician in our pre-festival interview, she hopes to dedicate 2019 to creating a new recording of her original material. Judging by the strength of her performance tonight, Emah Fox is going to an artist we’ll be hearing a lot more of in the new year.

With a double bank of keyboards, keytars and electronic drum pads, Luke Million was always going to make a lot of noise. If much of the music tonight had been for the mind, then Luke was out to ensure that everyone’s feet got a turn too. Generating loud, brash, 80s style sounds, it wasn’t long before the night turned into a joyous dance party. Million’s Triple J cult classic Arnold set the crowd alight, as he directed the crowd to bob up and down to the command of Schwarzenegger’s voice. Luke Million had came, saw and conquered, leaving the audience to chill down and contemplate a weekend of more performances, gear galore and enticing workshops at the very first Melbourne Synth Festival.

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MELBOURNE SYNTH FESTIVAL 2018: DAY 2

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 27, 2018

Amelia Arsenic

The Sunday morning of the Melbourne Synth Festival began in a dreamlike state, courtesy of Italian born, Melbourne based composer, producer and sound sculptor Chiara Kickdrum. The MSF stage was bathed in blue light as Chiara conjured transcendental, ambient moods, easing us into day 2 of the exhibition. It’s easy to see why the Palme D’Or judges at Cannes acknowledged her soundtrack to the short film All These Creatures with the first prize this year.

Of course, the shop floor was full of gear and attentive staff. You can check out the gear in a separate report HERE

Meanwhile over in The Stables area of the venue, Byron Scullin was once again illuminating attendees with his knowledge of synthesis and tales of how the Melbourne Electronic Sound Studio came to fruition. Featuring all kinds of rare vintage synths, you really need to check the MESS facility out, it’s amazing (https://mess.foundation/about/). Christopher Steller followed with his unique spin on wavetable synthesis. Next door in room 2, there were a couple of great sessions; one on the Yamaha MODX series synth and then Roland’s Davey ‘Dizz 1’ Norris on combining hardware and software, using the Roland TR-8S and Ableton live.

Back on the main stage, the much anticipated performance from Ehsan Gelsi was happening. Ehsan was probably the busiest guy at the synth fest this year, as he was not only playing but also working the exhibition floor as a product specialist for Innovative Music Australia and hosted several workshop sessions too. Ehsan thrilled the audience with melodic brand of prog rock before he was back at The Stables soon after talking modular synthesis, with special guests Andy Muscat and Ben Willis. Christopher Steller closed out the workshop day with another fabulous demo of the Waldorf Quantum.

Amelia Arsenic, the queen of risk has recently returned from a successful American tour and brought her high energy A game to the Synth fest, giving us a thrilling set of electro trash-pop. In our pre-show interview, Amelia promised Industrial beats, mayhem, noise, obnoxious subs, hair flips and head banging… and she and her partner in crime Peter Crane, delivered all of that and more.

It was fitting that David Haberfeld aka Honeysmack closed out the show with his pumpin’ punk attitude acid house beats. Dave had also been a busy guy at the festival, conducting a brilliant session on live electronic music performance on the Saturday. As he finished up his set, the local legend was surrounded by fans wanting to know more about his rig.

The first Melbourne Synth Festival is done and dusted. Thanks to the performers, workshop presenters, the exhibitors and folks that came along to check it out. If you came down, let us know what you thought of the festival … what you liked, what you didn’t and whether you’d like to see something like it again.

Byron Scullin MESS

Chiara Kickdrum

Ehsan Gelsi

Amelia Arsenic

 

Christopher Steller

Honeysmack

 

 

 

 

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MELBOURNE SYNTH FESTIVAL 2018: DAY 1

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 26, 2018

Dave Whitehead of Roland

After a sensational launch concert the night before, the exhibition section of the inaugural Melbourne Synth Festival was open for attendees to see, try and buy the latest in synth, electronic music and DJ product. (Check out our gear rundown HERE.) Not only did punters get to view and play with the gear but they could also witness some performances by some wonderful local electronic music acts.

Sadiva begun the mornings proceedings with an energetic set of sweet beats, playing material from her latest recording ‘Minutes’. Returning to the stage after her Friday night performance, Emah Fox followed with her fabulous brand of high intensity synth pop.

Meanwhile over in the stables area, the folks from MESS (Melbourne Electronic Sound Studio) were impressing everyone with their collection of vintage synths. Inside Workshop room 1 Simon Moro of ninety Nine 100 studios was keeping his audience captive with an informative session on the fundamentals of Signal flow and other DAW must-dos. next door in workshop 2, Melbourne synth stalwart Christopher Steller was presenting a talk on Waldorf new Quantam unit.

After lunch ACM aka Andy Muscat was treating his audience to a solid set of techno beats. Sergio Selim, who had just flown in from LA, where he is now based, presented an energetic show, utilising his array of toys including the Roland AX-Edge keytar and is talk box. The Oddness, also known as Smash bang Records head honcho Fergus, delighted everyone with his progressive house beats.

The stables area was busy all afternoon including another session from Chris, this time a guide to synthesis types. Byron Scullen from MESS gave a talk on the history of electronic music in Melbourne. David Haberfeld aka Honeysmack dissected performance of electronic dance music with synths and drum machines. Roland’s Dave Whitehead was surrounded by his group of enthusiastic attendees as he discussed hybrid DJ sets. Ross Healy was up next for Sound and Music with a great session on the amazing BUCHLA synths. Sessions on Steinberg products and Moog synths finished up an intriguing day one at Melbourne Synth Festival, leaving folks to head back to the exhibition area to look at the gear with new knowledge onboard.

Christopher Steller session

Sadiva

ACM

Simon Moro

The Langos were popular thanks to Bohemian Kitchen

Ehsan Gelsi

Ross Healy on BUCHLA

Sadiva hangin out at Store DJ

ACM

Sergio Selim

Steinberg session

Honeysmack… David Haberfeld

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MELBOURNE SYNTH FESTIVAL 2018: THE GEAR

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 26, 2018

On a rain-soaked weekend outside, attendees inside the Meat Market, North Melbourne enjoyed the amazing array of electronic music gear on show at the inaugural Melbourne Synth Festival. Melbourne’s serious gearheads were able to not only see, try and buy the product on show but also attend some wonderful demo sessions to check out the capabilities of some of the marquee gear.

LA-based 1010 Music showcased their line of Eurorack modules, including our sampler bitbox and our sequencer, toolbox. Electric Factory showed us their full range of Nord keyboards. Denon DJ Prime system (including the new SC5000M motorised media player). Large display of EVE Audio professional reference monitors. Akai Professional’s standalone MPC X and MPC Live and Alesis Vortex Wireless 2 (keytar).

Found Sound had a large number of modules to try from brands such as Make Noise, Mutable Instruments, ALM, Intellijel, 4ms, Doepfer, Industrial Music Electronics and many more. Innovative Music’s stand was very popular with some marquee synths brands including Novation, Moog, Elektron, Teenage Engineering, 1010 Music, Bitwig, Avid, Propellerhead, Access Virus, Studiologic. Retailer KC’s Rockshop offered a selection of interfaces, software and headphones from NI, Arturia, AKG and Steinberg.

Specialist hi-tech distributor Link Audio showed the full line of German made Waldorf synthesizers, starting with the synth everyone wants to play, the amazing new Quantum. We checked out the legendary Blofeld synthesizer keyboard and module and it was amazing, plus they also showed the range of Eurorack modules and the KB37 keyboard to mount them in, as well as the desktop synths Rocket, 2Pole and Streichfett.

The knowledgable Mannys Music staff were on hand to assist attendees with their queries on their range of Korg, Arturia, Universal Audio, and Native Instruments products.

Roland had a large presence, showcasing the complete AIRA range including the System 8 (now with JX-3P Plug-out included), TR-8S and VT-4, the new AX-EDGE Keytar, Roland Boutiques, Roland Analogue Modular and their Workstations with great specials across all products. They also had some amazing deals on V-Moda Crossfade headphones. Attendees were also able to rake a virtual 360 degree tour through the Roland museum.

Sound and Music launched their distribution of Buchla electronic musical instruments and showcased some of the iconic Buchla synth gear including the Music Easel. They also featured IK Multimedia’s UNO Synth true analog synthesizer and it’s editor software along with keyboard controllers from IK Multimedia and Nektar.
Hung To, Audiologist from Alpha Hearing was on hand to promote a greater awareness about hearing loss and hearing protection too.

Store DJ had all the latest cutting edge DJ gear from Pioneer and Native Instruments Traktor. Ableton, Korg, Arturia and more.

Synthstrom, a boutique electronic instrument manufacturer from Wellington, New Zealand were in the room too, showcasing the Deluge, a powerful and portable synthesizer, sequencer and sampler built for music composition and live performance. The Deluge now features a new 2.1 software update

Yamaha Music impressed with the latest new products on display featuring the full range of stage pianos and synthesizers, including the new MODX series. The great range of Steinberg gear was on show too including award-winning, technologically advanced music and media production products for musicians and producers of music and video.

Here are the exhibitor website links:

ELECTRIC FACTORY www.elfa.com.au 

FOUND SOUND foundsound.com.au/ 

INNOVATIVE MUSIC http://www.innovativemusic.com.au/ 

KCS ROCKSHOP www.keyboardcorner.com.au

LINK AUDIO https://linkaudio.com.au/ 

MANNYS www.mannys.com.au 

ROLAND AUSTRALIA https://www.roland.com/au/

SOUND & MUSIC http://sound-music.com/ 

STORE DJ www.storedj.com.au 

SYNTHSTROM synthstrom.com 

YAMAHA MUSIC/STEINBERG https://au.yamaha.com/index.html


 

 

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MELBOURNE SYNTH FEST FULL PROGRAM OUT NOW!

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 22, 2018

Your full Melbourne Synth Festival 3 day program is finally here! Check it out, plan your weekend and book now for early bird ticket specials

The Melbourne Synth Festival is Australia’s premier event dedicated to all things in the world of synthesisers, DJ equipment and electronic music making. See, try and buy the latest in music technology. Complete the experience with workshops and seminars and live performances from Melbourne’s cutting edge scene. The Melbourne Synth Festival allows for a fully engaging experience for the electronic musician, DJ and producer.

Download your #MSF2018 program pdf HERE

TICKET LINK HERE

 

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MELBOURNE SYNTH FESTIVAL INTERVIEW: BEATRICE

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - November 22, 2018

Beatrice is an artist that carries you deep into the textured soundscapes of her cinematic bass music. A vocalist, multi-instrumentalist and electronic producer from Melbourne, she has an artistic bipolarity and sophistication that weaves itself through every beat, bar and polyrhythm. She creates compelling and intimate music with a gritty distorted edge that immediately strikes a chord with audiences and Beatrice recently garnered industry attention with an invitation to attend the inaugural Red Bull Music Academy in Montreal in 2016, as well as participation in The Seed conference and two Arts Victoria grants which funded releases.

A recent addition to the Operatives roster and a rising performer on the Australian festival circuit she has performed at most major electronic festivals from Rainbow Serpent to The Falls Festival to Let Them Eat Cake. She is also the DJ for Australian rapper Joelistics of TZU fame and is one of the co-founders of new pop band ‘Haiku Hands’, who work with producers such as Hermitude, Jaytee Hazard and Lewis Can Cut. For the past eight years Beatrice has been a workshop facilitator and advocate for Indigenous woman’s music throughout Australia. She is currently producing for and working with the Kardajala kirri-darra (Sand Hill Women) featuring songstress Eleanor Dixon, hailing from the Marlinja community in the Northern Territory.

Live on stage, as you will see at the Melbourne Synth Festival opening night concert this Friday, Beatrice radiates electronic vocal lushness and a futuristic atmosphere of deep hip-hop, subterranean bass and electrifying break beats. Ahead of her appearance at the MSF launch concert we catch up with Beatrice for a chat

Do you recall the first time you heard electronic music?
YES! I vividly remember riding around my home town of Wagga Wagga on a bike listening to an album called Sambanova by Pnau. It was such a poignant moment for me as I remember being absolutely blown away by the textures of the sound and the intensity of the bass and the drums.

Who were some of the artists or albums that inspired you through your teens?
I loved Radiohead and Portishead a lot. They were a major influence. Then when I finished high school and moved to Melbourne I heard hip-hop for the first time and that was another massive influence.

What was your first instrument?
I started playing guitar and piano in High school.

What was the first piece of music gear that you acquired?
The first piece of electronic equipment that I got was my computer and Ableton, then the first piece of hardware was a Roland SH09.

What has been your most memorable gig to date?
That’s a good question, I feel like every show is memorable for such different reason. Off the top of my head I would say that playing Let Them Eat Cake last New Year’s day was a highlight. I got to perform in-between Tourist and Jon Hopkins, two really great artists. It’s also one of the best festivals in Australia and it’s my birthday, so that was a good one.

Tell us about your live rig journey and what gear do you use now on stage?
My live show has been a work in progress like it is for most artists. I feel like currently it’s better than ever and is finally something that feels risky and different enough from the studio but also still totally aligned with my studio sound. Currently I play a lot of samples, effect the beats and use lots of software and process my vocals like an instrument.

What’s on the gear wish list?
I need a new microphone! That’s the absolute gear purchase priority, I have been borrowing a friend Jeremy’s (Thanks Jez!) for way too long. Apart from that, I have bought some new pieces over the last year, a Sub37, Juno 6 and another secret synth and I feel like I need to use them till I have exhausted them and then I will start looking for more acquisitions. I have just spent a week with a friend in Switzerland, SIMPIG and he has really got into modular stuff in the last year, so that might be the next foray.

How did the Red Bull Music Academy experience come about and what has come out of it?
RBMA was such a crazy cool thing. I stayed up all night doing the application and then rushed to get it in a minute before the post offices closed. Then when I got the email saying I had got in, I was so blown away. It was then one of the most amazing inspiring experiences of my life. Meeting so many cool producers from around the world, all making super interesting music. It expanded my concepts of what music is and really ignited a whole other journey into sound manipulation and music making.

Tell us about the Kardajala Kirridarra project and how you became involved?
I have been working out in Central Australia with female musicians doing production workshops and collaborating on music for around 8 years. This culminated in meeting Eleanor Dixon from Marlinja community (about halfway between Darwin and Alice Springs), who is an incredible person and artist and we started working on music together and then we worked with her aunty Janey and cousin Kayla and formed Kardajala Kirridarra – which means Sand Hill women in her language Mudburra. We released an album last year and have toured Australia together since then. I feel very honoured to get to work with these women.

What is the history of your other project, Haiku Hands and how did the European tour came about?
Haiku Hands is a project that I stared with Claire Nakazawa and Joel Ma (Joelistics, TZU) a few years ago. We started writing together for fun and it has since become a force of nature. It’s an amazing project that lets me explore heaps of new sounds, new parts of my voice and a whole new stage character. We collaborate with heaps of really talented artists and are getting to travel to new places. We just got back from Iceland which was one of the most incredible places I have ever been.

What can we expect from your appearance at the Melbourne Synth Festival?
Lot’s of bass and vocals.

What are you most proud of so far in your music career?
Probably my relationship to music and creativity. I still feel like such a novice and my thirst for learning and experimenting and exploring sound is only growing stronger. I also feel very lucky to be able to have the opportunity to work on music, it’s a very privileged position that I definitely don’t take for granted.

What do you have planned for 2019?
I am supporting Jon Hopkins in February at the Metro in Sydney, releasing my second single and hopefully an album in 2019.

Tickets to the Melbourne Synth Festival opening night concert can be purchased HERE or at the door

http://beatrice-musique.com.au/
https://soundcloud.com/beatrice-musique

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MELBOURNE SYNTH FESTIVAL: AMELIA ARSENIC INTERVIEW

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - November 22, 2018

 

Amelia Arsenic is a musician and fashion designer born in Sydney but now travelling the world. The sounds of Amelia Arsenic are described as an infectious injection of high-energy beats infused with feminine allure. Her music as a genesis of fresh electronic sounds drawing from hip hop, electro and industrial music.

Amelia Arsenic plays the Melbourne Synth Festival main stage at 1.30pm on Sunday November 25. Ahead of her appearance this weekend, we had a chat to Amelia about her music world

Do you recall the first time you heard an electronic music track that really caught your attention?
The first track I remember being super blown away by was ‘Smack My Bitch Up’ by the Prodigy. It was just so wild, punk and badass—I was instantly hooked!

‘Tormentor’ from my favourite Skinny Puppy album Two Dark Park was the other track that changed my whole taste in music. The dark vocals and heavy sound design made me realise that synths could be a impactful as guitars, so that made me start listening to industrial music and wanting to make it myself.

Also, a friend gave me a copy of Downward Spiral by Nine Inch Nails at youth group one year when I was a teenager (I had quite a religious upbringing believe it or not) and I remember listening to it for the first time and just being completely immersed and kind of scared by the pretty violent sound design. The use of foley for percussion and sampling got me interested in Trent Reznor’s process and I loved his intense aggression contrasted with melodic song progression.

What were some of the music artists or albums that inspired you through your teens?
Hands down my favourite band was Sonic Youth, I was completely enamoured with Kim Gordon because of her spoken word style and she’s just so fierce. The DIY nature of the band was also inspirational as they made zines and art alongside their albums, so that definitely influenced my creative approach too.

Being a typical alternative goth kid I loved the Deftones, Marilyn Manson, Hole and Smashing Pumpkins (and still do).

What was the first piece of music gear that you acquired?
First ever thing I bought with my pocket money was an acoustic guitar to learn on and then a beginners Ibanez bass because I wanted to be like Kim Gordon and Kim Deal. My first synth was a Yamaha DX7 which I used when I was in a Cure covers band in high school and I remember playing ‘A Forest’ quite a few times with that synth, but have still never quite figured out how to make my own patches on it.

When I started making music with my first band Angelspit, we had a lot of classic synths on hand like the Roland SH101, Sequential Circuits Prophet 5 and a Roland Jupiter 8, which all sounded glorious as you can imagine. Though keeping the Prophet 5 in tune was a nightmare when it started heating up and it required so much maintenance—but it did actually sound best when it was breaking down.

Tell us about the gear you work with now to create your music
I’m an Ableton Live girl mainly now because it’s convenient to just work on music on my laptop, especially when travelling. My favourite soft synths are Serum and Native Instruments Massive for some extra wubs and anything from Izotope.

I used to be more into modulars, particularly my Doepfer Eurorack, but now that computer processing power has caught up and you can play 100 tracks without it skipping, I’m happy to do most in Live.

At the moment I usually use inbuilt Ableton synths to get my ideas down quickly, put the vocal arrangement in and then redo the synths at the end. There is nothing more heartbreaking than discarding a bleepy bloopy modular synth sequence that took all day to patch and then have to delete it because it doesn’t fit in with the vocal arrangement.

Having said that I’m really into the Novation Circuit Mono Station at the moment which has a groovebox which you can mess about with, but also has a gnarly sounding semi modular built in with an overdrive filter that’s pretty nasty.

I also write with my partners in crime Pete Crane and Ben Lee Bulig from Melbourne based industrial band Shiv-r — they have so much gear it’s ridiculous. Our most used gear in Pete’s studio include the mighty Sherman Filterbank, the Moog Little Phatty, Access Virus Snow and the Nord Lead. For vocals we’re always using the Universal Audio Solo 610 Preamp that just makes everything sound warm and like a million dollars, with the Blue Baby Bottle microphone.

When I’m writing with my Glitch Mode Recordings family in Chicago with Sean Payne from the Cyanotic band fame, we just pretty much use Ableton, Omnisphere and sample packs from everywhere. Sean’s very much into sampling from films like any good industrial kid and he’s a real science fiction film aficionado.

Pic by Hyder Images

What’s on the gear wish list?
The main thing I’ve been lusting after has been making a single portable Eurorack modular to take live, to create some bubbling textures underneath and in between tracks. I’ve travelled with a large modular before and they are difficult to fly with so want to make a carryon one. (You can guarantee that the TSA will bust your road case open and cut all your patch cables in two because it must look quite suspect when x-rayed!)

So your girl here is dreaming of the following…

Eurorack:
Tip-top Audio Mantis Case
Tip-Top Trigger Riot
Noise Engineering Manis Iteritas
Intellijel Metropolis
Mutable Instrument’s braids
Mutable Instrument’s Clouds
Make Noise Pressure Points
Erica Synths Fusion VCO

Synths / Keyboards:
Moog DFAM
Dave Smith Prophet X
Make Noise O-Coast
Arturia Minibrute 2S

Pedals:
ZVEX Fuzz Factory
Red Panda Tensor
Meris Ottobit Jr
Malekko Heavy Industry Chaos

When creating your music, are you think visual and design at same time? Do they go hand in hand?
Most definitely, I actually can’t separate the two. Sometimes I get a visual in my head for a movie scene or something that I want to compose an imaginary song around or get inspired by a setting or texture. I’ve often thought, “I want to make a banging track that’s playing in that Blade Runner futuristic science fiction nightclub.”

The integration of art and music is really important to me. I’m a bit of a control freak and want everything to be cohesive, so I design all of the artwork, merch and posters, while art directing all of my photoshoots. I’m an unashamed typography and font nutter.

Nine Inch Nails had the legendary designer David Carson work on some of their most iconic albums and the artwork just enhances how special the albums are. I remember cherishing my Fragile double gatefold vinyl so much when it came out!

Making music videos is one of the fun parts of making music, so I’m stoked to have worked with Sydney based director Oliver Heath on my last few. Our last video for my single ‘To Love is to Destroy’ was super fun to make. It started out with Oliver asking if he could scan my face for an experimental video portrait and if I could draw eyes on my eyelids so I wouldn’t be blinded by the scanner. Then I drew some creepy anime eyes over the top and the rest of the video happened pretty organically from there.

What has been your most memorable gig to date?
Playing the M’era Luna festival in Hildesheim Germany with my first band Angelspit was a dream come true and I had to keep pinching myself knowing I was on the bill with my teen idols Placebo, Skinny Puppy and the Sisters of Mercy.

Top tip: If you ever play a festival with a catwalk that goes into the audience, always accept the wireless microphone. When I was traipsing down the M’era Luna catwalk I embarrassingly got stuck halfway down because my mic lead was too short and had to shimmy back like a knob. ¯\_(ツ)_/¯

How has the American tour been going?
It’s been a whirlwind amazing time, especially the Halloween run of dates because punters really go all out with their costumes. I made my band dress up as sharks and I wore a Pamela Anderson swimsuit for our NYC show – we were called ‘Baewatch’

My current band are my family now after being on the road since June. Jordan and Dan come from Cincinnati and the first time I saw them play with their industrial project RELIC I knew I needed to collaborate with them!

Industrial music is having a real moment with so many artists slaying at the moment, like KANGA, 3TEETH, Youth Code among many from LA.

What can we expect from your appearance at the MELBOURNE SYNTH FESTIVAL?
Industrial beats mayhem, noise, obnoxious subs…. hair flips and head banging.

What projects are you currently working on?
Just finished a new Amelia Arsenic EP written with Pete Crane from Shiv-r, a thrashy DNB thing with Seattle’s finest Rabbit Junk and in the middle of writing mid tempo dance project with Jordan Davis from RELIC.

What artists are inspiring you at the moment?
Weirdly enough I pretty much have been listening to hip hop and trap, so I’m obsessed with Brockhampton, Danny Brown, Vince Staples, Death Grips, Flatbush Zombies, Boots and Run the Jewels.

On my last DJ tour I played stuff only between 85bpm -110bpm so I’ve been vibing Louisahhh, Aglory, CABLE, FATHER, Bvrmes, Moris Blak, Boys Noize, Darkk Matter, REZZ and any Marilyn Manson remix I can find on soundcloud.

What would be your dream collaboration?
I would die if I could do a tune with the Prodigy. All life goals from then on would be cancelled.

If money was no issue, what would an Amelia Arsenic show look like?
Definitely tour around with a video wall, lots of costumes and dancers. I grew up watching Madonna and MJ concerts so it’d be fun to do that with industrial music.

What are you most proud of so far in your music career?
Probably my next EP, but my Queen of Risk release was a big victory considering I had taken a big break from music prior to its release. I’m always humbled to hear from fans who are touched by my music and I am the luckiest girl in the world to be able to make music for them.

What do you have planned for 2019?
Tour of Europe with Aesthetic Perfection and Priest in April and a full US tour at the end of the year. Hopefully fit in some writing in between to give my liver some time to recover.

MELBOURNE SYNTH FESTIVAL TICKETS HERE

Upcoming 2018 dates:

Evelyn Hotel – MELBOURNE, AU – 22/11
Melbourne Music Week, Melbourne Synth Festival – MELBOURNE, AU – 24-25/11
Freda’s – SYDNEY, AU, 30/11
Flamin’ Galah – BRISBANE, AU – 1/12
Incursion NYE (DJ set) – SYDNEY, AU – 31/12

http://www.ameliaarsenic.com/

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MELB SYNTH FEST HAS YOUR FOOD & BEVERAGE NEEDS SORTED!

Posted in Blog, Melbourne Synth Show News    //    Post Date - November 22, 2018

 

Come on down to the Melbourne Synth Festival this weekend, Australia’s premier event dedicated to all things in the world of synthesisers, DJ equipment and electronic music making. Not only will see some amazing gear and hear our wonderful line up of artists but you’ll also be able to get your fix of fine food, coffee, beer, wine and spirits.

We’ve hand selected a highly recommended assortment of caterers, including;

Booze bar with beer, wine, spirits and soft drinks by Bottoms Up Bartenders
Facebook Link: https://www.facebook.com/bottomsupmelbourne/

Coffee and bakery treats by Bean To Coffee
Facebook Link: https://www.facebook.com/beantocoffee1/

Lángoš to satisfy your cravings and hunger by Bohemian Kitchen
Facebook Link: https://www.facebook.com/bohemiankitchenau/

See, try and buy the latest in music technology. Learn from the experts at our numerous Workshops and Seminars and experience performances by cutting edge electronic music artists. Nov 23-25 Meat Market. North Melbourne.

Ticket info HERE

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MELB SYNTH FEST INTERVIEW: LUKE MILLION

Posted in Artist Profiles, Artists, Melbourne Synth Show News    //    Post Date - November 22, 2018

This Friday night the Melbourne Synth Festival kicks off with a huge opening night concert featuring a fascinating lineup of artists from the Australian electronic music world including Honeysmack, Beatrice, Emah Fox … and our headliner LUKE MILLION

We first witnessed Luke Million’s synth wizardry with his Future Classic releases back in 2011. This was closely followed by cult classic ‘Arnold’ which found a home coming in at #71 in Triple J’s Hottest 100 that year. Arnold continues to have a fanatical following with more than 2.5 million views across YouTube. The Synth Lord is oft a term associated with Luke Million. Luke has a string of seminal releases including ‘Midnight/Galaxy’ via Nurvous Records, ‘Light and Sound’ and ‘Fear The Night’ etc. The Triple J waves are no stranger to Luke’s releases with tracks Arnold, Midnight and Fear the Night hitting radios and ears on high rotation. His trademark sound has been in demand with Luke crafting a string of remixes for artists including Tkay Maidza, Porsches, Young Franco, Moullinex, Ou Est Le Swimming Pool and even his own band The Swiss.

Ahead of Friday night’s gig, we caught up with Luke Million for a chat about his music world.

Do you recall the first time you heard an electronic music track that really pricked your ears?
I recall hearing Kraftwerk for the first time at a friends house when I was a teenager. He showed me “The Robots” and I was completely blown away by the sounds I was hearing. It was like pulling the curtains open to reveal another world of sound.

Who were your main electronic music influences?
Pioneers like Vangelis, Jean Michelle Jarre, Giorgio Moroder and Kraftwerk were instrumental in my electronic music education. Growing up I was also particularly drawn to Daft Punk, Justice and The Chemical Brothers.

What electronic music albums do you see as benchmarks for sound quality?
I just upgraded my monitors in the studio to Eve Audio SC207’s and have actually been making a playlist of reference music that I use as benchmarks. I always gravitate towards Daft Punk’s “Discovery” and “Human After All”. “Come With Us” by Chemical Brothers is another one I always reach for.

What was your first synth or piece of electronic music gear?
My first synth was a Roland SH-2. It was gifted to me by my music teacher and was basically brand new in the box, untouched for 20 years. I still have it today and is a secret weapon of mine.

What’s your fave piece of gear in your home studio now?
I’ve just moved it from my home studio to my main studio, but my completely restored Rhodes Chroma from 1984 is now my favourite bit of gear.

What was the last piece of new gear you acquired?
Roland SE-02. I used to have an original Minimoog in the studio but it was on loan and I sadly had to return it to it’s owner. The Minimoog sound was such a “go to” for me and the SE-02 is a great way to be able to recreate the experience and sound of a Minimoog but with all the modern benefits.

What will your stage rig consist of for your Melbourne Synth Festival performance?
I will be doing a hybrid set which meets somewhere in between a DJ set and my Live show. I definitely will be bringing a few electronic goodies to jam on.

When did you first get into keytars and will you be utilising one of those at Melbourne Synth Festival?
I always had an appreciation for keytars but I would not get my first one until 2014. I remember browsing ebay after a few drinks (not recommended) and I came across an original Korg keytar from 1984. I ended up being the highest bidder and the keytar became an integral part of my shows from then on. There will definitely be a keytar at the festival and will either be this original one or my recently acquired Roland AX-Edge.

Electronic music gear can be fickle. Have you had any on stage nightmares/gear malfunctions?
Indeed there have been prickly situations over the years but the show must go on and you musn’t let it get you down. I learnt early on that taking vintage gear on the road is not such a good idea. Having modern equipment and professional road cases will help the stability of your gear.

What can we expect on the night at MSF? What material will you be mainly drawing from?
I will be playing some of my original works and also a few remixes/edits I have made. You can definitely expect some keytar shredding.

What have you been up to the last couple of months?
It has been a busy few months for me. In between working on my own music and touring, I have been getting involved in mixing and production for other artists. I have also been exploring new equipment like the Akai MPC-X and the Roland SE-02 and TR8’s.

What markets have been good to you overseas? Where are the biggest Luke Million fans around the world?
I’ve always had a great time when I have played in Europe. Electronic music is embraced in their culture and I really feel a connection when I am there. Looking at where my fans come from, Mexico is surprisingly always high up there even though I have never been there. But I feel the most love at home here in Australia.

What have you been listening to lately, any other artists inspiring you?
I’ve been going on journeys with Spotify and seeing where the recommended playlists take me. It’s been a mix of old school disco/funk, movie soundtracks and new releases.

Are you currently collaborating with any other artists?
I recently spent some time in LA collaborating with a bunch of artists which was awesome. I’m definitely looking forward to collaborating more in the future.

What’s coming up and on for 2019?
2019 will be the year I finally release a full length album. I can’t hide my excitement in being able to deliver one cohesive journey of synthesizers and all my influences coming together and then touring it around Australia and overseas.

Tickets to Friday night’s concert can be purchased HERE but hurry as tomorrow is the last day you can get your early bird ticket discount!

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