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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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MELBOURNE SYNTH FESTIVAL: EMAH FOX INTERVIEW

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - November 18, 2018

Emah Fox will be performing at the Melbourne Synth Festival Opening Night Concert on Friday 23 November 7pm-11pm and she’ll back back for another set on Saturday November 24.

Ahead of her MSF appearances, Emah spoke to Australian Musician’s Greg Phillips

Emah Fox describes her music as “High Intensity Synth Pop”. Emah is a musician and producer based in Melbourne, Australia. Her dark brand of synth pop pits urgent beats and ominous synths against sweet polyrhythmic melody. The intricate production satellites around lucid vocals which shift from restrained intensity to epic and soaring. Earlier musical explorations have earned critical acclaim from ROLLING STONE ‘nothing sort of joyous’, MINISTRY OF SOUND ‘emotive vocals and fine lyrics’ and REVOLVER ‘world-class electro’.

Melb Synth fest ticket info:https://www.australianmusician.com.au/melbourne-synth-festival/tickets/

https://emahfox.com/
https://www.facebook.com/emahfox/ 

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MELBOURNE SYNTH FESTIVAL INTERVIEW: CHIARA KICKDRUM

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - November 6, 2018


Chiara Costanza (aka Chiara Kickdrum) is an Italian born, Melbourne based composer, producer, music educator and DJ. Her artistic appreciation and blend of music disciplines allow her to produce an eclectic range of musical outcomes. Classically trained in piano in Italy and later exposed to electronic music after moving to Melbourne in 2004, Chiara has since moved into a well respected position in the Melbourne Techno movement through her dedication to a refined DJing technique and production of electronic music. This eventually led to extra studies in sound art and design at RMIT University, extending her interests into composition and sound design for screen.
Chiara’s work now ranges across composing and producing music and sound design for film and TV commercials, creating electronic music for live performance, composing soundscapes for immersive environments and art installations, and the experimental use of field recordings with analogue and digital synthesis.

Chiara’s latest soundtrack was created for a short film, All These Creatures, which won Palme D’Or at the Cannes International Film Festival 2018. In the past couple of years, Chiara has also been a sessional lecturer at Monash University in Melbourne, in the Creative Music Technology Department.
Chiara will also be performing at the inaugural Melbourne Synth Festival.

Ahead of her Synth Festival appearance, Australian Musician’s Greg Phillips spoke to Chiara about her musical journey.

Tell me about growing up in Italy and the kind of music you were exposed to.
I started learning about classical music at a very early age with my dad, who had a lot of classical music records and also opera. Maybe towards my teenage years I started listening to more rock and heavy metal. My brother is ten years older and he was into a lot of that Deep Purple and Led Zeppelin. Then I played in bands where I was playing keys and singing … punk rock and metal bands. Those were my first attempts to play live. Also when I was seven years old I had started studying classical piano and I continued doing that all the way to uni and while I was at uni, at around 18 I started listening to jazz, fusion. So I went through all the stages and then when I moved to Melbourne, that’s when I got exposed to electronic music and started listening to techno, house and even hip hop, which I had never listened to before.

I believe you had a Deep Purple cover band but only songs from the Glenn Hughes period?
That’s right. I was a big fan when I was younger. We just did Come Taste The Band, I think the Stormbringer album as well. Glenn has a very high voice so I could sing those songs. To find a man to replicate those vocals was very hard so I ended up doing it and it was a lot of fun

Do you recall the first time you heard electronic music?
It was here in Melbourne and I was at my ex-boyfriend’s place and he had an amazing collection of techno records from the 90s. I don’t remember which day but one of the first days that I went to his place he started playing his stuff and straight away, I was like wow, how have I never listened to this? I was working part time because I didn’t have a full time working visa and when he went to work I used to go through all of his records and CDs and did lots of research and that’s when I fell in love with it

Your music projects are so diverse, are you ultra curious or do you get bored easily?
Both (laughs). Music is like that and that’s why I have been listening to so much music, it just interests me to listen to different songs and I do get bored very easily. I do it because I can but also as I get older I find I’m starting to understand what I like to do more and what I like to do less. I think in time, I will start to do less of a variety of music and specialise more into what I enjoy doing.

When did you start to DJ?
The DJ thing started about five years ago. That started because at the time I had been in Australia for eight years and I had collected records and I had some turntables. I didn’t really know if I wanted to do it or not but then just thought why not? So I had all this music I wanted to play and the idea of people listening to what I enjoy was really exciting to me. I did a party with a friend and there wasn’t that many people there but that gave me the confidence to keep going and then by word of mouth, people come and see you play and that’s how everything started.

It got so popular that you played the Meredith Music Festival. What was that like?
That was amazing. That was one of the best experiences and I played live at that event. It was probably the biggest thing I have done in terms of live shows. It was nerve wracking but very exciting… all these people all concentrating on one stage. It was incredible. Meredith is a very nice festival, very well organised.

What led you to doing film soundtracks?
Learning classical piano I have always played around with that piano soundtracky stuff, just making things up, writing my own music. Also listening to a lot of stuff like Philip Glass, even now in the car I am listening to Ryuichi Sakamoto. I’ve always been interested in how music can be connected to vision and how it can effect the way we think and feel. It’s telling a story and it’s a whole 360 degree thing that is very interesting to me.

You recently performed an original soundtrack to a silent horror film, Vampyre. What tools did you use to perform that?
I used Virus TI 2 Desktop, which I have been using for quite a while and Elektron Analog RYTM, which is the main drum machine that I use. Because I was travelling I didn’t use much else gear, as the event was held in Sydney and Canberra, so I kept it quite minimal. I don’t have that many old synths, I have a (Roland) SH-101 that was given to me by a friend and he hasn’t taken it back yet! Apart from that I have a MIDI controller keyboard, reverb pedal. I used to have a Moog Sub 37 but I left that behind at my old place with someone else. Now that I am moving house I can create a proper studio and do my work there. I use a lot of soft synths as well, especially for my soundtrack stuff, the Kontact instruments, things like Spitfire.

All These Creatures, a film that you did the music for won the Palme D’Or at Cannes. That must have been a thrill to be involved in that?
That was an amazing experience and completely unexpected. It was a very low budget movie and we really didn’t think that it got to where it did. So I ended up going to Cannes, not knowing that we were going to win but knew it was a really nice film. We experienced the whole red carpet, the festival, the networking, the win, the ceremony and the after party, everything about it was incredible and working with the director Charles Williams, was an incredible experience also and it’s given me a lot of confidence and the inspiration to keep going. Sometimes when you do these jobs, the budgets are low and you don’t get the recognition when you are doing creative work. It is very personal and it can get quite emotional at times but doing this was a really important experience in my life.

You are performing at the Melbourne Synth Festival. What can we expect from your performance?
I believe I am playing quite early in the morning … 11.45 am, so I am not planning anything too crazy. I have been producing a lot of ambient stuff lately and so I think I will be doing a lot of that and I think I’m going to improvise a lot with my drum machine. I’ve got a lot of new samples and things that I have recorded and put in my drum machine, so I will be using that as a sampler. I think I’ll do something quite organic and maybe moving towards some beats for the second half of my set. We’ll see what happens.

Part of the Synth Festival will be tours of MESS (Melbourne Electronic Sound Studio). You spent some time there. Did you have a favourite piece of gear?
Yes, the Jupiter 8 was a favourite, it’s a beautiful synth. I wrote a lot of stuff with that which I really loved. The Buchla was great to use because I am always wanting to explore more the modular world, so that was a good start for me. I would say that those two were my favourite pieces of gear, the ones I used the most. Obviously while I was there I used the 808 and the 909, which I’d never used before. There is so much stuff there.

What’s on for 2019?
A few things, I’ll be producing music for theatre which is another thing to add to my list. A couple of new films that will take some time but I’ll start soon. I am doing some work for the Sydney Dance Company at the end of November, creating music for a dance performance which will be shown at Carriageworks in Sydney. There are quite a few exciting things coming up. At the same time I will take the time to write my own music and hopefully release some more stuff myself.

https://www.chiarakickdrum.com/

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MELBOURNE SYNTH FESTIVAL INTERVIEW: SERGIO SELIM

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - November 1, 2018

Sergio Selim is a music producer, writer, performer, multi-instrumentalist, DJ and all -round musician who spends his time between his hometown of Sydney and Los Angeles. His musical journey began at the young age of 4 when he discovered the piano and classically studied the instrument well into his teens. He has been a frequent fixture on the live music scene in Australia for years and is heavily sought after. As a producer, Sergio has worked with some of the music industry’s most elite artists and producers, while at the same time working on his own solo projects. Sergio’s album ‘VERSION’ is his most recent release. With Synths and Keytars being his usual weapons of choice, Sergio delivers hybrid performances with an instrument he is most known for mastering; The Talk Box

Ahead of his performance at the Melbourne Synth Festival, Sergio found time to chat to us from LA

Do you recall the first time you heard an electronic music track that really caught your attention?
I remember being infatuated with “Pump Up The Jam” by Technotronic as a baby. That song is one of my earliest musical memories.

What were some of the music artists or albums that inspired you through your teens?
I have to credit classical, west coast hip hop and 70’s and 80’s funk+soul for shaping me musically. There are way too many to name, but Jimmy Jam & Terry Lewis opened up my mind and ears with their genius production work and Prince is and always will be the blueprint of what being a musician is all about.

What was the first piece of music gear that you acquired?
I grew up with an upright acoustic piano in the house which is where I learned to play. My first real synth that I bought myself was a big, heavy Yamaha DX7 which I still have today.

Tell us about the gear you work with now to create your music
I’m a hardcore synth cat with a room full of synths, but with all the love they’ve been showing me this year, my Roland gear is being put to work more than anything else right now, especially the System 8 and I still use my Juno 106 just as much as any other synth that I own. I also use my JD-Xi both in the studio and live for everything from pads, drum loops and especially the talk box. I also love my Roland/Serato DJ-505 for DJ sets.

When did you first get into the keytar?
I’ve always loved the idea of stepping out from behind the keyboard stand with a keytar and jamming on stage, so when I finally got my hands on my first keytar, it was a wrap. I always focused not only on the playing, but on developing an original style with as much finesse and expression as any dope guitarist.

When did you first come across the talk box?
I used to hear the talk box on west coast hip hop records growing up, mostly used as an effect or background vocal and thought it sounded kinda cool. Every now and then I’d hear producers and talk box artists singing hooks which I thought was dope and wanted to give it a try myself. I’m grateful to now to be considered one of the top names in the world for the talk box.

What’s on the gear wish list?
Anything I don’t have! The Moog One looks incredible though.

What can we expect from your appearance at the Melbourne Synth Festival?
I’m going live for my family at Roland, messing with a bunch of their latest gear with maybe a surprise or two… pull up and rock with me!

What’s your latest recording that people can hear?
Check out my album ‘VERSION’ on iTunes, Spotify, Apple Music etc. http://smarturl.it/ssversion

What projects are you currently working on?
I’m always working on different projects with different artists, but I have some new solo material on the way. Stay posted on my socials for them new drops!

What artists are inspiring you at the moment?
I’m usually inspired by new sounds, new colours and new flavours that I can play with. Whether it come from a new sound pack, or a new synth, or anywhere else, I love new sounds and new gear.

What would be your dream collaboration?
Hey Jay Kay (Jamiroquai) … wanna do a song together?

What are you most proud of so far in your music career?
I’m an extreme perfectionist so I’m never really satisfied. I’m just looking forward to what’s next.

What do you have planned for 2019?
More. More music, more shows, more traveling, more life.

 

Connect with Sergio:

Instagram: @sergioselim

Facebook: facebook.com/sergioselimsounds

SoundCloud: soundcloud.com/sergioselim

YouTube: youtube.com/sergioselim

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MELBOURNE SYNTH FESTIVAL INTERVIEW: SADIVA

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - October 31, 2018

Australian Musician’s Greg Phillips chats to #MSF2018 artist Sadiva.

She’s only a few years into her career, having started producing in 2015 but since then, Sadiva has emerged as one of Melbourne’s integral players in the sampling/beats scene. She’s toured North America, Japan & recently played the Melbourne International Jazz Festival. Sadiva has already released two albums, the latest, the feel good vibes of ‘Minutes’ and made Bandcamp’s ‘Best Beat Tapes of May’ list.

https://soundcloud.com/sadiva

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MSF2018: MELBOURNE ELECTRONIC SOUND STUDIO – BYRON SCULLIN INTERVIEW

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - October 24, 2018

Based in Melbourne Australia, MESS is a unique not-for-profit organisation dedicated to the creation of electronic sound and music founded by Robin Fox and Byron J Scullin. The heart of MESS is the Melbourne Electronic Sound Studio, a fully functioning sound production workshop representing one of the most unique, eclectic and historically significant collections of electronic instruments in the world. Working from within the studio is the MESS School, a place for people to engage with the history, technique and artistry of electronic sound and music creation presented in a format that is flexible, affordable and artist driven. Work created at the studio and school is supported by MESS Show to promote unique performance events and recording releases reflecting the diversity of sound created at MESS alongside historical releases from the vault of Australian electronic music. Finally MESS Schematic not only maintains the instruments in the MESS Studio collection, it also offers a space for the development of new instrument ideas focussing on design, engineering and construction.

Included in your price of admission to the Melbourne Synth Festival, attendees will be able to check out the amazing electronic music gear and facilities at the Melbourne Electronic Sound Studio, based at the Festival venue in North Melbourne.

Australian Musician’s Greg Phillips spoke to MESS co-founder Byron J Scullin about MESS and its role in the inaugural Melbourne Synth Festival

https://mess.foundation/

Check out some of the amazing vintage synths and state of the art gear below, which you can see at MESS

 

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HONEYSMACK INTERVIEW PT 3 – MELBOURNE SYNTH FESTIVAL & FUTURE PROJECTS

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

David Haberfeld aka Honeysmack is an acclaimed electronic dance music artist, producer, composer, performer, DJ, promoter, academic and educator. David’s work as energetic and colourful live electronic act Honeysmack has earned him rare respect on the Australian live rock and dance music circuits. He exhibits a deep understanding of pop, funk, disco, punk, rock and contemporary electronic music styles. He is a multidisciplinary artist with expertise and experiences across media arts. David has also navigated the music industry in various roles from communications, media, print publishing, music journalism, radio, information technologies, music direction and creative consulting.

Honeysmack will appear at the Melbourne Synth Festival opening night concert on Friday Nov 23, 2018 and will also be talking and performing over the weekend Nov 24 &25 at Meat Market North Melbourne
Tickets: https://www.australianmusician.com.au/melbourne-synth-festival/tickets/

Australian Musician’s Greg Phillips caught up with David Haberfeld in his studio for a chat. Here’s part three, the final segment of the interview, in which he discusses his involvement in the Melbourne Synth Festival and future projects.

https://www.davidhaberfeld.com/

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MELB SYNTH FEST: HONEYSMACK INTERVIEW PT 2 – GEAR & MUSIC MAKING

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - October 21, 2018

David Haberfeld aka Honeysmack is an acclaimed electronic dance music artist, producer, composer, performer, DJ, promoter, academic and educator. David’s work as energetic and colourful live electronic act Honeysmack has earned him rare respect on the Australian live rock and dance music circuits. He exhibits a deep understanding of pop, funk, disco, punk, rock and contemporary electronic music styles. He is a multidisciplinary artist with expertise and experiences across media arts. David has also navigated the music industry in various roles from communications, media, print publishing, music journalism, radio, information technologies, music direction and creative consulting.

Honeysmack will appear at the Melbourne Synth Festival opening night concert on Friday Nov 23, 2018 and will also be talking and performing over the weekend Nov 24 &25 at Meat Market North Melbourne
Tickets: https://www.australianmusician.com.au/melbourne-synth-festival/tickets/

Australian Musician’s Greg Phillips caught up with David Haberfeld in his studio for a chat. Here’s part two of the interview, in which he discusses his music making and the gear he uses to create it.

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MELB SYNTH FEST: HONEYSMACK INTERVIEW PT 1- THE EARLY DAYS

Posted in Artists, Interviews, Melbourne Synth Show News    //    Post Date - October 18, 2018

David Haberfeld aka Honeysmack is an acclaimed electronic dance music artist, producer, composer, performer, DJ, promoter, academic and educator. David’s work as energetic and colourful live electronic act Honeysmack has earned him rare respect on the Australian live rock and dance music circuits. He exhibits a deep understanding of pop, funk, disco, punk, rock and contemporary electronic music styles. He is a multidisciplinary artist with expertise and experiences across media arts. David has also navigated the music industry in various roles from communications, media, print publishing, music journalism, radio, information technologies, music direction and creative consulting.

Honeysmack will appear at the Melbourne Synth Festival opening night concert on Friday Nov 23, 2018 and will also be talking and performing over the weekend Nov 24 &25 at Meat Market North Melbourne
Tickets: https://www.australianmusician.com.au/melbourne-synth-festival/tickets/

Australian Musician’s Greg Phillips caught up with David Haberfeld in his studio for a chat. Here’s part one of the interview, in which he discusses his early days in music.

https://www.honeysmack.info/

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