Hidden Waves

1. Can you describe the story of Hidden Waves?
Name was inspired by hidden waveforms on the Ensoniq ESQ-1, Einstein’s (now proven) prediction of gravitational waves, hidden waves in the ocean, sound waves etc
I started the label to release music by Travancore which is a live hardware jam collaboration between me & 2 friends. Then, I approached fellow Melbournian Dan White aka Rings Around Saturn for an ambient album. I have a few more releases roughly planned but the beauty of releasing on cassette rather than vinyl is you can keep it more fresh & spontaneous.

2. Do you have other labels?
No.

3. How were the founding members? How did you get started?
I’m the founder, I release music under the name Kloke & have recently started making music under the name Colours Of Infinity.

4. What other artists are with your label?
So far there has been albums by Travancore, Rings Around Saturn and a new compilation with some existing & new artists. There are forthcoming releases from Smax & Colours Of Infinity this year.

5. When was Hidden Waves born?
The 1st release was November 2014.

6. Which gear do you use to produce?
Personally, I use mainly hardware machines from 70s & 80s – Juno 6, ESQ-1, Space Echo, Boss DR-110, Yamaha MR10, a few cheap Casio keyboards & loads of guitar pedals. I just record live takes into soundforge & jam over the top.

7. In which cities have you played?
Artists on the label have played around Melbourne, Sydney, London, New York, Europe.. probably a few other places I’m unaware of.

8. What are you scheduling for the future?
To release interesting, unusual, heavy, emotional, otherworldly, psychedelic, brain melting noise 😉

9. Give me 3-5 songs which inspire you… Or labels, artists…
Carl Sagan, Phillip K Dick, Old music equipment & John Carpenter films.

Xephem Records

1.Can you describe the story of Xephem records?
The story of Xephem is very simple really. I was getting pretty sick of getting spammed on soundcloud with fake accounts commenting on my tracks and seeing the same happening to similar artists. I thought that the best way to tackle this was to create a community and come together to support each other’s work. By setting up a « label » that anybody has the opportunity to be featured on is exciting because we are all watching it to see if we have been featured and all digging the music that does get uploaded. Whenever I get sent a demo I listen to the whole thing and appreciate the submission. I enjoy the fact that somebody is getting recognition for their work.

2.What other artists are with your label?
The artists in the label are ever changing really, I ask the regular’s whether they are up for putting more out (such as Cranko PoP, Chalybs, Tunnel One and Leotrix) but generally it’s a release from myself and whoever else is interested.

3.When was Xephem records born?
Xephem Records was born about two year ago, I can’t remember exactly when to be honest.

4.Which gear do you use to produce?
When I [®adår] produce music I use some pretty low end stuff to be honest. I’ve recently bought a Yamaha DX21 which I love, you can get some lush sounds from it. Alongside that I use a MicroKorg, a Korg Volca Beats, an Arturia Microbrute, some Teenage Engineering Pocket Operators and a selection of VST’s. I love Arturia’s ARP 2600 VST. As far as sequencing goes I use Renoise as my DAW.

5.In which cities have you played?
I don’t really gig that often, my type of music isn’t exactly mainstream enough to get away with where I live unfortunately. I tend to just to 40 minute sets in my local bars when everybody is loose enough to give it a try.

6.Give me 3-5 songs which inspire you…
Favourite artists:
Aphex Twin, Wagon Christ, Autechre, Coil, Matt Berry, The Necks
Favourite Labels:
Warp, Rephlex
Favourite songs:
Wagon Christ – Bend Over
The Tuss – Last Rushup 10
Matt Berry – Music for Insomniacs Part 1
Coil – Pretty Little Horses

SEAGRAVE

1. Can you describe the story of SEAGRAVE?
For a long time, Seagrave was supposed to be a drone and electronics project by myself and Andy (aka SOLO1). We went to school together in the 80s and Seagrave was the name of a place Andy grew up in, but also had all these other connotations we thought were fun, yet which have little do with a specific place. Since we started the label, people have read so much into the name (the concepts of ‘Sea’ and ‘Grave’), even though after an itital pisstake, we don’t really encourage it all that much now. The label is really the result of knowing so many artists and producers over the last twenty years, some of whom are involved in bigger projects but enjoy the relative anonymity that using a pseudonym on a small tape/vinyl label offers them. We still do take the piss quite a bit tho.

2. Why did you launch a tape label?
We have been mostly about tapes, but did release a vinyl 12″ for BOA (Best Available Technology & Ovis Aurum) in 2015. We have several more vinyl 12″s coming out in the next 6-12 months, mostly by bigger names, such as Broshuda and Kinlaw, with a top secret special guest or two [laughs]. Tapes offer young producers a physical release which has become a strange show of faith and commitment in today’s creative economy, whilst at once indicating a regressive tendency culturally that should be overcome and /or exhausted in many ways. Tape does sound nice though.

3. Who were the founding members? How did you get started?
Seagrave was founded and remains run by myself (I record as Blood Room, Blood Mute and IXTAB) and my old mate Andy (who records as SOLO1).

4. What other artists are with your label?
Take a look at http://www.seagraverecords.com and also our Bandcamp. Many of the artists who have released with us will be doing more than one release with us, so we see the line-up as something of a ‘roster’, plus a dozen or so other ace people who have yet to be listed on the website have entrusted us with really nice gear that will emerge in the next 12 months or so.

5. When was SEAGRAVE born?
In September 2014 we put out or first release, a split tape/digital for Best Available Technology and Ovis Aurum. But the label was really something bubbling under for a long long time. We had accumulated friends and material over the last decade or so, longer in some cases. For example, I met Paul Cignol in 1993.

6. Do you have other labels? For example, a record label?
We are involved in other projects, yes. Some of them will remain a bit clandestine. Good fun isn’t it?

7. Which gear do you use to produce?
Personally, for me: Blood Room draws mostly on sampled records, tapes and film soundtracks after the mode of first-wave hip-hop, often as a piss-take of ‘dark’ aesthetics, but also incorporates a heavily circuit-bent / pro-modded Casio Sk-1 keyboard, a Korg Kaoss Pad (KP1), an ailing Peto Scott reel-to-reel tape machine, a Mac Book Pro running Ableton Live and various shareware plug-ins, plus whatever intstrumentation my collaborators might currently be in possession of (I just recorded a couple albums worth of material with my mate TANS in Kreuzberg, Berlin. Amongst other assorted legendary bits and bobs, that fella has some seriously nice modular gear, plus an E-mu Drumulator and a Yamaha RM1X. Proper classics for electronic music and gear heads).

8. In which cities have you played?
Although it wasn’t called that, Blood Room was a spoof project I did in various locations for the amusement of friends during my long student years (UK, Germany, US – Denmark too), but was never a serious ‘live’ show, more a repository for wonky trax and occasional hybrid DJ affair and will probably remain that way until I / we feel it is time to transform it / starpit n tidy up.

9. What are you scheduling for the future?
Numerous but mostly involve taking the piss with some sort of sonic / graphic bias.

10. Give me 3-5 songs that inspire you… Or labels, artists…
Bernard Parmegiani
REQ
Jamal Moss / Hieroglyphic Being
Mhah Mos
Person of Interest – What You Think You Want
+ all my homies making crazie sonics here there n everywhere.

Dar Embarks

1. Can you describe your story?
Kenneth Zawacki & Daniel Jugel went to high school just outside of Chicago. Which lead to them to hear about underground raves. These parties in the mid 1990’s are the foundation of Dar Embarks’ music. After the 90’s raves in Chicago were made illegal we did not participate in the dance scene for another 10 years. It was mostly bad house and bland techno we did not care for. We spent time playing scumy art parties and basements in various projects and bands. But thankfully once again it’s time to bang!

2. Can you describe your beginning?
Although Daniel & Kenneth have been programming synths & drum machines together in various projects since they were 16 years old (www.discogs.com/artist/107455-Ghost-Arcade). Ken started Dar Embarks as a solo project. Ken brought in Dan to assist in a live set and Dan quickly became a permanent fixture of the project.

3. How do you choose the name of your music?
That is a secret.

4. Are you with a label?
We do not run a label. But we have worked some amazing labels. We have released music on Stilove4music, CLEAR (USA, Fun In The Murky & have a forthcoming release on Anthony Parasole’s label The Corner.

5. Can you describe a basic studio session?
We produce all our tracks live. No multi-tracking on computers. If we make any mistakes we stop and try again.

6. There is something else you’d like to add?
Go to your friends shows. That is what we do. There is a lot of phonies in dance music. Maybe a lot of phonies everywhere but there is a special bread we have run into. It’s all good though. When they are gone we will still be here.

Broken Call Records – Gaul Plus

1. Can you describe the story of Broken Call Records?
I guess the name came out of a personal frustration with seeing peoples inability to connect with certain music. Sometimes, I felt like the whole BK scene was yelling at walls for their own therapeutic reasons, and I just couldn’t understand how more people weren’t clamoring to decipher what was going on.

2. Can you make a short presentation about you?
I’m originally from San Francisco and have been residing in New York for just over 4 years. I’ve been making music under different Monikers for about 6 years, everything from Grime to Noise to Techno, but my interaction with New York music scene proved to be very invigorating and made me want to start fresh.

3. What other artists are with your label?
Eduardo Unz, Nick Klein, POI, Rosemary Arp, Segv, The Wet Taxis, J Albert, Angel de la Guardia, Mondkopf, Greg Z. I met them all through late nights and globalization basically. Some I’m lucky enough to call good friends, others I just admired from afar and was lucky enough that they chose to work with me. Genre means absolutely fuckall to me, I’m just connected to music that sounds alive, based in nature, and beyond that it can really be anything.

4.In which cities have you played?
Mostly illegal spots, but Bossa Nova, Sunnyvale, Output and many more in NYC, Stattbad in Berlin, MORE in Tokyo, Nightlight in Carrboro, Public Works in SF, and a basement in Montreal.

5. Give me your best record stores
Material World in BK, Big Love in Tokyo because they carry BC and are in Tokyo which is a very good place.

6. Can you describe the vibes in NYC right now?
The vibes are great in NY, it’s truly incredible how many talented people there are living here, and most of them are incredibly kind and generous with their time and experience. There’s a great foundation for every type of music here, very few cities where you can start your evening at bar listening to power electronics and finish it in a warehouse wit some breaks or jersey house or whatever almost every night.

7. Can you explain the electronic scene in San Francisco?
Haven’t lived there in years. Definitely not as bountiful a scene as a lot of other cities, but RS, Club Lonely, and Honey Soundsystem seem to be doing their best rallying against the war being waged on anything and everything creative in that city.

8. How and when did you get into electronic music?
I was mostly a rap fan growing up but it was probably always seeing PsychicTV, Aphex Twin, NIN, Butthole Surfers, Prodigy, Portishead and shit on MTV growing up that first made me comfortable with the sound. The main wave came though when I bought Dizzee Rascal-Boy in da Corner when I was in high school. That got me into all forms of english dance music within a few years, and all the Detroit/Chicago connections came soon after. The other huge influence came when I bought Atrax Morgue – Woundfucker just based on the cover art and that shit changed me forever.