3AM Spares is a new compilation of Australian Electronic Dance Music selected by Andras and Instant Peterson, encompassing the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation Midnite Spares, this double LP draws from local 12” releases, CDRs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers and ravers spilled out into pavilions, warehouses and paddocks, embracing a new culture of machine-metaphor and chemical love. 

Future Sound of Melbourne’s warehouse triptych Resist The Beat embodies a time when the country’s youth united with juggernaut stamina, partying beyond the long arm of the law. Restored from the ARIA award-winning trio’s original DATs, this debut 12” incited label offers from Jeff Mills, Frank De Wulf and Carl Cox. 

Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era’s material has evaded sufficient digital documentation until now, some lost in the decommission of Angelfire, Tripod and Geocities websites. Often these bedroom experiments and one-off collaborations existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, graphic artist Jeremy Dower’s glacial sub-bass was digitised from the only known CD-R copy, preserved by the 3RRR FM library. 

Many key figures of this narrative have deep roots in the DIY/post-punk family tree. Third Eye, the impressive evolution of Whirlywirld founder and industrial legend Ollie Olsen, finds common ground with I Will Go, a hypnotic concoction by Adrenalentil and Poets of the Machine associate Jandy Rainbow, a transgender artist whose liberated electronics trace back to 1978. 

The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman and Stolen Generations survivor Maroochy Barambah. Recorded in New York, Mongungi incorporates two lines of a traditional Gubbi Gubbi song Gurri Nina Nami with the sound palette of tribal house, highlighting the broadening ways that identity and culture were being negotiated and manifested within club music. 

A lesson in intelligent appropriation, Artificial’s Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation’s interrogation of that thing called disco. Artificial’s ingenuity was vital impact to the scene, releasing three influential albums as one half of B(if)tek and establishing the WINK Awards - a music prize that recognised and encouraged subversive electronics. Her playfulness is mirrored in Blimp’s frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith’s borrowing is comparatively more discrete on the chillout sampledelic collage The Slaughtering Eye. 

Andy Rantzen returns to Efficient Space in two incarnations - as one half of Itch-E + Scratch-E ambient alias Screensaver, and in collaboration with General Electrik on Leather Lover, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation Gay In The Life: Adventures in the Queer Underground. Reinventing himself as Hypnoblob, fellow Sydney Oz Wave artist Ian Andrews also gives us his pneumatic-drill-step Deep Down.

3AM SPARES: Compiled by Andras and Instant Peterson (ES009) OUT NOW

OUT NOW ON @efficientspace

3AM Spares is a new compilation of Australian Electronic Dance Music selected by Andras and Instant Peterson, encompassing the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation Midnite Spares, this double LP draws from local 12” releases, CDRs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers and ravers spilled out into pavilions, warehouses and paddocks, embracing a new culture of machine-metaphor and chemical love.

Future Sound of Melbourne’s warehouse triptych Resist The Beat embodies a time when the country’s youth united with juggernaut stamina, partying beyond the long arm of the law. Restored from the ARIA award-winning trio’s original DATs, this debut 12” incited label offers from Jeff Mills, Frank De Wulf and Carl Cox.

Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era’s material has evaded sufficient digital documentation until now, some lost in the decommission of Angelfire, Tripod and Geocities websites. Often these bedroom experiments and one-off collaborations existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, graphic artist Jeremy Dower’s glacial sub-bass was digitised from the only known CD-R copy, preserved by the 3RRR FM library.

Many key figures of this narrative have deep roots in the DIY/post-punk family tree. Third Eye, the impressive evolution of Whirlywirld founder and industrial legend Ollie Olsen, finds common ground with I Will Go, a hypnotic concoction by Adrenalentil and Poets of the Machine associate Jandy Rainbow, a transgender artist whose liberated electronics trace back to 1978.

The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman and Stolen Generations survivor Maroochy Barambah. Recorded in New York, Mongungi incorporates two lines of a traditional Gubbi Gubbi song Gurri Nina Nami with the sound palette of tribal house, highlighting the broadening ways that identity and culture were being negotiated and manifested within club music.

A lesson in intelligent appropriation, Artificial’s Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation’s interrogation of that thing called disco. Artificial’s ingenuity was vital impact to the scene, releasing three influential albums as one half of B(if)tek and establishing the WINK Awards - a music prize that recognised and encouraged subversive electronics. Her playfulness is mirrored in Blimp’s frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith’s borrowing is comparatively more discrete on the chillout sampledelic collage The Slaughtering Eye.

Andy Rantzen returns to Efficient Space in two incarnations - as one half of Itch-E + Scratch-E ambient alias Screensaver, and in collaboration with General Electrik on Leather Lover, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation Gay In The Life: Adventures in the Queer Underground. Reinventing himself as Hypnoblob, fellow Sydney Oz Wave artist Ian Andrews also gives us his pneumatic-drill-step Deep Down.

Efficient Space

One of the more balearic, lower tempo picks on 3AM Spares, the new compilation from Andras and Instant Peterson on Efficient Space. Hazy bleeps, piano stabs, wistful trumpet and tasteful guitar sounds like a collaboration between Jose Padilla and Higher Intelligence Agency.

Read more & buy: http://www.stampthewax.com/2018/11/01/premiere-ian-eccles-smith-the-slaughtering-eye/
Listen on Youtube: http://bit.ly/ian-eye

Andras & Instant Peterson present 3am Spares

Listen on Youtube

Ian Eccles-Smith - The Slaughtering Eye (STW Premiere)

3AM Spares is a new compilation of Australian Electronic Dance Music selected by Andras and Instant Peterson, encompassing the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation Midnite Spares, this double LP draws from local 12” releases, CDRs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers and ravers spilled out into pavilions, warehouses and paddocks, embracing a new culture of machine-metaphor and chemical love.

Future Sound of Melbourne’s warehouse triptych Resist The Beat embodies a time when the country’s youth united with juggernaut stamina, partying beyond the long arm of the law. Restored from the ARIA award-winning trio’s original DATs, this debut 12” incited label offers from Jeff Mills, Frank De Wulf and Carl Cox.

Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era’s material has evaded sufficient digital documentation until now, some lost in the decommission of Angelfire, Tripod and Geocities websites. Often these bedroom experiments and one-off collaborations existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, graphic artist Jeremy Dower’s glacial sub-bass was digitised from the only known CD-R copy, preserved by the 3RRR FM library.

Many key figures of this narrative have deep roots in the DIY/post-punk family tree. Third Eye, the impressive evolution of Whirlywirld founder and industrial legend Ollie Olsen, finds common ground with I Will Go, a hypnotic concoction by Adrenalentil and Poets of the Machine associate Jandy Rainbow, a transgender artist whose liberated electronics trace back to 1978.

The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman and Stolen Generations survivor Maroochy Barambah. Recorded in New York, Mongungi incorporates two lines of a traditional Gubbi Gubbi song Gurri Nina Nami with the sound palette of tribal house, highlighting the broadening ways that identity and culture were being negotiated and manifested within club music.

A lesson in intelligent appropriation, Artificial’s Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation’s interrogation of that thing called disco. Artificial’s ingenuity was vital impact to the scene, releasing three influential albums as one half of B(if)tek and establishing the WINK Awards - a music prize that recognised and encouraged subversive electronics. Her playfulness is mirrored in Blimp’s frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith’s borrowing is comparatively more discrete on the chillout sampledelic collage The Slaughtering Eye.

Andy Rantzen returns to Efficient Space in two incarnations - as one half of Itch-E + Scratch-E ambient alias Screensaver, and in collaboration with General Electrik on Leather Lover, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation Gay In The Life: Adventures in the Queer Underground. Reinventing himself as Hypnoblob, fellow Sydney Oz Wave artist Ian Andrews also gives us his pneumatic-drill-step Deep Down.

3AM Spares: Compiled by Andras and Instant Peterson

B2 Jandy Rainbow and Adrenalentil - I Will Go 7:24 (ES009)

B1 General Electrik Meets Andy Rantzen - Leather Lover 5:53 (ES009)

A2 Hypnoblob - Deep Down 5:00 (ES009)

A1 FSOM - Resist The Beat 8:04 (ES009)

Wilson Tanner (Andras and Eleventeen Eston) return to shore with II - a new album of floating melodies, lightly salted. The 12 min odyssey Killcord Pts I-III battens down the hatches as these sailors eye merciless waves and blinding ocean spray, channelling Berlin-school electronics and sea legs.

Wilson Tanner - Killcord Pts I-III (ES013)

Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay. 

The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. 

Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.

07 Wilson Tanner - Safe. Bird. 5:21 (ES013)

03 Wilson Tanner - Perishable 3:35 (ES013)

01 Wilson Tanner - My Gull 2:11 (ES013)

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997). 

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. 

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch. 

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. 

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.

Steve Hiett - Are These My Memories? (ES011/BEWITH062LP)

Label run by @noise-in-my-head

Distribution queries:

Australia | info@noiseinmyhead.com.au
Rest of the World | www.wordandsound.de