Music Genre: Techno
The final round of Digital Evolution - Techno is upon us ???
Not only is this the very last installment of the comp for 2017 but also - we'll be deciding who wins our TECHNO category!!
It's been an absolute pleasure to showcase some of Brisbane's best DJ talent in the interest of growing and supporting our scene and we hope you'll join us one last time and make it LARGE ??
KICK OFF for this event is NOON. We have some very special guests to open and close our final event and will announce shortly.
No cover. BYO Drinks. As always FREE HUGS
Venue is max capacity 50 people so please rsvp if you're coming.
At first glance, Brisbane DJ DefWill appears to be going from strength to strength, balancing university studies, events management roles for festivals like Splendour in the Grass, Rabbits Eat Lettuce and Live Large, DJing some of the deepest techno rhythms at some of the primest techno parties on the east coast of Oz and also that he has never let the fact that he is deaf hold him back. Though if one takes the time to look (and talk) a little deeper it becomes clear that he, like many of us, carries burdens that are well beyond his control and the weight of which has been known to bring even the strongest of us down.
New OzClubbers writer Dastardly Kuts gets deep with DefWill.
Dastardly Kuts: Now you truly are a well-known person in the Brisbane Electronic music scene, whether as a DJ, events manager or punter but what a lot of our readers may not know is that you are the only industry DJ in Australia that also has the word “deaf” in their bio. Can you give us your thoughts on how it is possible for someone who can’t hear to be a successful DJ?
DefWill: First of the key elements of being a successful artist (Generally) is how you market yourself and where you fit yourself in the competition positioning map to other business models or genres, which is the same deal for winemakers or coffee beans. That’s why Starbucks failed! However, in relation to DJing, it’s all about how you position yourself to educate the audience, from the music you play thru to the experiences you provide and for me personally, is about telling a narrative to express my internal love of music and share that with others by taking them on an emotional journey.
From a disabilities perspective…. It is a lot harder than people think, behind closed doors and having all the mental and physiological challenges of peer pressure, as well as the internal and external negative gearing within the communication barriers, it can sometimes be very difficult. These kinds of issues were established as a growing concern recently at the Ibiza Music Summit 2018 and it was a topic that was spoken about at length.
DK: I’m sure most of our readers would agree that issues of mental health being discussed at places like IMS 2018 by high profile artists such as Pete Tong and a plethora of others in the dance music scene is a positive thing. From your unique perspective, how do you think it relates to people with disabilities?
DW: In many ways to be honest and it’s a growing concern among families and friends, however, this epidemic is affecting everyone, from both the mainstream and disabilities demographic. I actually just handed in a case study to Jane Slingo (EMC Organiser) addressing how people with disabilities are more susceptible and infused with mental health challenges, and that there is growing evidence to suggest that people may actually suffer from the mental battle scares (Genetically) of our ancestry, passed down thru generations. So, if one of your descendants was a victim of violence, or worse still executed, any time from B.C. to 1800 A.D. then you could very well be more prone to mental illness, potentially thousands of years later.
Take me for example, I grew up with a mother who also had a high degree of disabilities that she suffered because of the physical damage of brain injuries and which resulted in her being harshly bullied, not only by the people around her but also by her family. I believe that this damage control was infused in me and I, therefore, had to deal with these genetic challenges that were further exacerbated by rejection throughout my life and the fact that I was removed from my family by the “old fashion” government – DOC’s, during the early period of my life. Though in 2018, society is much more aware of the challenges faced by people with disabilities and mental health problems, it was not that long ago when decisions regarding parents who had disabilities or who had worked in combat being unfit to raise children could likely be considered reasonable grounds for tearing families apart, which in truth may have unknown consequences for generations to come.
DK: You have taken on a lot of important management roles within a number of high profile festivals over the last couple of years, in your opinion what are the current challenges faced in the management of disabilities, for artists, venues, and customers that want to enhance the nightlife or festival scene in their community?
DW: I’m just glad that disabilities festivals are becoming more of a demographic hub these days because they are a great way to help educate people from many different cultures and demographics. Festivals such as AccessFest in Melbourne (run by the Dylan Alcott Foundation) and the Live Large Festival here in Brisbane (organized by CPL and the Treasury Casino) really helped open up my eyes to the large scale of the live and electronic music loving community here in Australia.
With these festivals showcasing accessibility in all areas and that cater for all physical requirements by using business management techniques that reflect an inclusiveness for EVERYBODY, it’s not that hard to imagine translating this to smaller venues and clubs. With small adjustments, these businesses could cater to the growing population of people with disabilities, not only into the future but right now, today.
There have been major callouts in the London electronic scene of late, with the need for re-education of all stakeholders and staff (security, venue management, promoters, artist management and so on) that deals with customer service roles within events management. This highlights that though things are improving, there is still a lot of work to be done and I’m not saying completely overhaul things, just re-adjustments on how we manage things like risk assessment and management as well as communication, because people with challenges don’t want to be seen as third-class citizens or victims of everyone’s problems. Like everyone else they just want to have a good time.
DK: Having supported some stellar talent from the electronic music scene such as Bass Kleph, Steve Ward, Jamie Stevens, Dylan Griffith, Makumba/Darkshire, and Hefty, you have obviously been a part of some epic shows both as a DJ and behind the scenes with your event brand La Vibrations, what has been some of the highlights for you?
DW: My experience in events management has brought me a deep level of satisfaction as I know I have helped to change perceptions on how people with challenges are viewed in taking on these higher roles. I have really enjoyed working as Artist manager with James Anderson (Dark Forest Festival), as well as playing my part at Rabbits Eat Lettuce (All-rounder/Stage Management) and Splendour in the Grass (All Rounder) not only due to them being top quality festivals, but also because I was given the chance to see my influence on the events crew and how it made people work more professionally and calmer, to find other ways to communicate and get the task done.
As for the DJ side of my life, I just recently warmed up for RAXON at Le Froth and I’m still helping out with Dragonfruit (Capulet) and Bass Swag Entertainment, but my highlight has to be…………… too many, they all have their own unique emotional vibes and engagement.
However, with the love of being authentic and seeing the techno scene getting supported by IWTFA, Lemon & Lime, Le Froth, Bass Swag Ent, SHADES and Flux here in Brissy, whilst Melbourne (The city that never sleeps or known as city of benders of the ARTS) and Sydney both hosting a strong and diverse mix of genres, my biggest highlight would be that it appears the Australian techno scene is growing into a peaceful musical hub akin to that of the European scene.
DK: As well as DJing and event production you are also currently studying at the Queensland University of Technology and majoring in Entertainment Industries, what are your thoughts on university life and the challenges people with disabilities may face to achieve success in both the entertainment and university fields?
DW: I THINK IT F****N GREAT! Seriously, it is due to a number of reasons like Steph Dower, who did a master’s degree in Script Writing at QUT and countless others that are doing what they love to achieve their dreams. In this way, universities are putting more weight behind the less abled individuals and are supporting in the rise of role models for people with disabilities, which is sure to have a big import on future generations.
I would also like to mention that this been an interesting year for the whole disabilities world, which I see as a strong turning point on how people see us as human beings and not just third-class objects from the history of scars and conflict within (like the cold war inflicted on people’s psyche). Due to more artist and high-profile people speaking about the unbreakable silence and the conflict within ourselves, it is clear that we as a society need to stop and educate people, to make it clear that everyone suffering thru these kinds of challenges just want to lead a normal life as well, and to learn. Even though it may take us a long time to acknowledge the task of requirements and how we are going to grow our creative ideas, the results are often times worth the wait.
DK: In relation to the last question, do you have any personal experiences you’d like to share?
DW: Well there is one experience that I hope others can get inspiration from and it is that even with my primary education being at Special School and that after attending two high schools, I dropped out in year 11 (mainstream after 14 schools) but I still went on to do studies at TAFE and am now in the end stages of completing a university degree. A degree that has seen me having an influence on the whole entertainment department of QUT and given me the knowledge to achieve success in this industry. If I can do it, you can do it too! If you believe in yourself and are willing to take a few risks.
DK: How do you manage to juggle university life with that of a career in the entertainment industry, especially considering your disability?
DW: Basically, just living on the edge of a sword but keeping motivations going with a flexibility of time management.
DK: In the knowledge that nearly everyone that reads this interview will likely have the ability to listen to music, how would you best describe your approach and method of DJing to people that have no idea what it is like to be deaf?
DW: Everyone refers to me as the guy in the movie “Its All Gone Pete Tong” or compare me to Robbie Wild (Scratch DJ/USA). In all honesty, you can take it either way.
1/ Fill your ear with wool and try to DJ with them in your ear,
2/ use the coin perspective, where everyone is on heads because they can hear and for people like me, we are on tails because we are more in depths of vibrations from all parts of the body where the information channels.
DK: I have heard that you would like to see “It’s All Gone Pete Tong” remade, what’s that all about?
DW: Yes, that is true, I have actually been talking to a lot of people about doing it here in Australia but there is still no movement at the moment. I got hold of Pete Tong and the director to put in the pitch proposal, however even though the movie has most of the elements and challenges we face, I think that it’s a bit of a laugh overall as it is still fictional and I’m of the opinion that it’s time for a realistic version to be made.
DK: With science and technology so rapidly improving, do you think that the majority of people with disabilities who choose a life in the entertainment sector will be helped or hindered by the meteoric rise of tech?
DW: It can be a huge help, but it is dependent on how we all socialize and communicate on the topic, due to some high-profile people with disabilities being addicted to greed, wanting more things for free and being catered to by the mainstream who find them complex. I believe things are getting better but that it’s only a matter of time before we see how the cards play out towards the river card, that hopefully shifts things from a political to economic perspective.
DK: To finish things off, tell us what’s in store for Defwill fans over the next few months?
DW: Well I have two gigs in Melbourne on the 3rd and 4th of August, playing at Renegade (Top Floor) at My Aeon on Friday and Eat The Beat on Saturday at New Guernica, which sees me on closing duties both nights and means I will be bringing out the raw material for what will be an emotional journey. This will be my fourth time playing in Melbourne and I have loved every moment down there.
I’ve also got a special event coming up with an interstate headliner that recently did a collaboration track with Citizen Kain and that a lot of people who caught the set at Elements music festival last year will definitely remember. Then early next year we are taking things to another level, showcasing equality and diversity for large and long going project planning but at the moment things are still a little “hush-hush” so stay tuned!
IWTFA is proud to present Cleric (Clergy / Figure / Soma)
The mysterious Mancunian, known as Cleric, has been active since 2012. The young UK producer’s creative output has been most prolific with an extensive amount of releases on labels such as Arts, Figure and his own imprint Clergy. Celebrated for his crisp and atmospherical works, Cleric describes his music as a means to translate emotion to others.
When the French - Chineurs de Techno community asked Cleric about the origins of his name and label identity last year, the artist answered with his philosophy on music. "I like the idea that music is like a religion to people – they each find their own ways to worship it and the club becomes like a church. Therefore ‘Cleric’ was born from the idea of a leader within this religion, and the label ‘Clergy’ reflects a group of leaders."
C L E R G Y welcomed 2018 with the Isolate EP [CRG010], their tenth release featuring a highly anticipated collaboration between Cleric and Setaoc Mass. This 8 track EP features a solid set of dancefloor weapons with prominent hard hitting drums. Since then the label has delivered excellent releases at a steady pulse. Stef Mendesidis | Cyborg EP, Wrong Assessment | Neurotag EP, Kmyle | Hyper Society EP as well as a VA featuring a rising star out of the Netherlands by the name of Remco Beekwilder.
Be sure to check out the links below to get a taste.
9pm - 3am
OzClubbers talks to Scottie Chappell about the origins of the IWTFA brand and pushing the boundaries of Techno here in Brisbane.
The IWTFA crew is made up of Scottie Chappell, Aamir Raza, Jamie Grenenger, Pete Trimbacher & Rob Glasgow.
Tell us about how IWTFA came about?
I came to Australia on a 2 year working visa from Newcastle up on Tyne in England. During this time I called Brisbane home. I worked and attended events and met alot of great people from local house and techno DJs to promoters from all over Brisbane. This helped me begin to get involved in the Brisbane scene and I began having ideas about what would add to the ever-growing techno and house scene here.
I met the crew around 2 or 3 years ago at various techno and house events. I’d watch them play and we'd chat at gigs. We all had the same interests in music and the same vision of what we wanted to do so we decided to form the brand.
In the months prior to launching IWTFA, I went to many techno events in Melbourne: Machine, Bunker, Plexus, Melbourne Techno Collective, Cat House & experimental events like Factoid and Doppler. They all had incredible local, interstate and international artists and I saw how far techno was being pushed. This helped give us a vision of what we wanted to see in Brisbane.
Thoughts on the Brisbane Scene Today?
I think the Brisbane scene is doing well. There are so many great brands that push all spectrums of Techno & House such as Subtrakt, Andromeda, Shade, Unison, Buxton, Higher State, BTHC, Dragonfruit, Oxytocin, Flux, Melt, Pray Tell, La Vibrations, Lola, Bless Club and Bass Swag. One of the reasons things work well here is that there’s a promoters group so we can try to avoid clashes and support each other as we try to schedule events.
However, it’s becoming harder with venue limitations here to push specific sounds as many venues only want to play commercial music. This scene has great potential so i think it’s really important for a decent clubbing culture to developed and be sustained. With many other brands in the scene, we wanted to do techno events that focus on and push specific sounds.
We want to push the boundaries of techno...
We focus on lighting and visuals for a real mood setting vibe no matter which venue we use and we have a specific flow in mind of how our events should run.
We always have our local techno DJs on our lineups and we show our full support of them and even new artists that want to push themselves, we like to think we give these people a chance.
At the time of launching IWTFA, we also began a podcast series on Soundcloud. Listen here.
It’s a Brisbane collective aiming to produce sophisticated, refined techno that exposes local, interstate and international artists. We try to showcase these artists in their true form and let them express themselves with no boundaries in the field of techno.
Check out the next IWTFA event here
https://www.facebook.com/events/1744741092276996/ Find out about upcoming events via their Facebook page here. Listen to IWTFA on Soundcloud
Monthly show on Fnoob radio
From the DJ’s perspective; since Larry Levan’s early days at the Paradise Garage, the remix – or playing different versions of songs – was one of the first notable aspects of what we now know as DJ Culture. His ethic of refreshing successful dancefloor movers in the late seventies passed down generations of DJ has been long-established as almost a perfunctory task, almost a must-do to be undertaken by the disk jockey.
Each year sees new versions of old gems. Some, which even those of us remember in our fresher days, first time around. Occasionally you find that some years produce more than others. This year has already delivered a glut of new-oldies which even by now has you scratching your head and widening your eyeballs at the frequency of remix deliveries.
Yes; in fitting with the northern hemisphere’s hedonism season, this year’s array of tracks is more-than-likely to guarantee multiple hands in the air and is quite remarkable. Especially considering how anthemic - many of these were in their first lifetimes. You only have to look at either Beatport, Traxsource or Juno’s 2018 remix collections to see this. Or even the number of free downloads on Soundcloud – lesser-known producers with their takes on classics, trying to gain support and not to be sniffed at, either.
So far in 2018; we’ve had Underworld’s Born Slippy, Energy 52’s Café Del Mar, Shakedown’s At Night and Junior Jack’s E-Samba. Not to mention the rarer, more trainspotter tunes such as The Disco Evangelists’ De Niro, LSG’s Netherworld or Banco de Gaia’s Heliopolis. Even non-house music pearls such as Massive Attack’s Teardrop have been given a recent, respectable once-over.
This week sees the release of a quite delicate rework, which could divide – or unite – opinions of dancefloor purists (although the latter is far more probable). Maceo Plex has undertaken the task of reinventing “Bladerunner” by the aptly-named artist, Remake. As such a heightened bootleg from the early nineties, it would require special attention to be a success, one would think. Championed twenty-five years ago by most household DJ names from the formative years of clubland – it would add another badge to the American, Plex’s impressive musical arsenal.
Remixes could; for us addicts of the late night (and all day) tiles – signify the cycle of life and its trends or simply “what goes around” comes back around, only with a few tweaks. As David Bowie once said, “The only art I’ll ever study is stuff I can steal from.”