Extreme Records interview by Sebastian Chan
At the end of the 1980s, I remember as a black clad teenager flicking through…
At the end of the 1980s, I remember as a black clad teenager flicking through…
Cameron Webb spends a lot of time in isolated wetland environments; he’s an ecological researcher.…
“I had too much to dream last night,†says the furry blue creature, one hand…
Danny Jumpertz’s studio is no regular studio, and don’t go looking for the phone number…
Last year, a reclusive young Kansas musician recorded an album with a peculiar creative motif…
Melbourne’ MC Ivens first emerged from Burn City’ hip-hop scene a few years back as…
The Nam Shub of Enki, according to Neal Stephenson’ post-cyberpunk novel Snow Crash, was a…
Before I spoke to Francis Plagne on the phone, I rode the bus with my…
Relative to his extraordinary sonic achievements, David P. Madson is one of the truly unsung…
“I really like music that drags you in,” says Melbourne producer Alex Gillett. His self-titled…
Shame File Music’ latest release, Artefacts of Australian Experimental Music: 1930 – 1973, is a…
Mark Pritchard has released music under a plethora of aliases. From Link and Reload, and…
The bass already sounds as if it was coming from elsewhere. Huge but muffled, spread…
The arppegiating synths chime, the four-to-the-floor kick bounces in, the off-beat hi-hat stammers then falls…
Anyone lazy enough to describe Sigur Ros as “glacial’ deserves a good whack over the…