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Fragment by Friedrich Gattermann

David Ryan is the founder of electronic live act act Segue, and member of the touring lineup of Australian electronic live acts including Silent Shadow, D-KO and Superfluid. The latter being Ryan's original introduction to the music industry, joining the band on the iconic Australia electronic music label Creative Vibes at a time of high radio and media coverage, and the slow shift from large-scale warehouse raves into the club and festival circuits that typified the turn of the millennium. 

With a fixation for Eastern European sounds leading to the recording and sampling Balkan folk songs on Superfluid's "Lodoss", featured both on the album "Project Vectrex" and the firth edition of Creative Vibes' iconic "Evolutionary Vibes" compilation, Dave headed off to tour Eastern Europe in 2004, becoming in the process the first Australian to play at Serbia's Exit Fest right at the cusp of it becoming a mainstay in the summer circuit.

Returning with a renewed passion for live performance, Ryan founded Segue with Statler & Waldorf's co-producer Leo Hede, recruited frequent collaborator Kris Swales on the drums, and hit the festival circuit with the likes of the Big Day Out's Boiler Room playing host to the larger formart live show. And taking a "more is more" live band rebellion to the increasingly minimalist laptop era. 

Segue wound down live performances in 2010, with Ryan moving to Europe to found a technology company, and Hede focusing on DJ'ing and promoting the Kana series of events. The band, and its wider collective of collaborators, have been reviewing the archives in 2021 and beginning work on a series of retrospectives of the live act era.

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diary of the voiceless


@artbyform
@ledgecollective
@wearenova
@wearesilkenwood
@your-wall

Just a kid here making music <3

I'm mostly active over here
👇👇
https://www.bandlab.com/elibrium

If I find out that your song in my 'what I like' playlist uses genAI voices or melodies without saying so, believe me, I will slap you hard and of course I will block you!

Unfortunately it has become next to impossible to distinguish between real and genAI voices. So people are telling me, why do I bother? Isn't the important thing that it sounds good? Why do I get upset about the use of genAI voices in music? 

I'll tell you why. genAI voices have been trained on thousands if not millions of hours of human voice recordings and the vast majority of that material was acquired illegally. Many people who involuntarily  'donated' their voices never saw a cent for their vocals and they will likely not get a cut of the royalties a genAI song generates.  This means by using genAI voices you, the so called AI artist, are supporting intellectual property theft, plain and simple. Driving around in a stolen Porsche may give you the attention you crave, but it does not change the fact that you didn't have the skills to make the money required to buy that Porsche yourself.


If AI generated crap-music accumulates on this and other digital music platforms listeners and *especially* musicians should ask themselves if online music production is worth their effort and if they might be better appreciated by focusing exclusively on live events and forget about the machine-infested online experience. For me the answer to this question is clear. If SC and others don't take measures to curtail machine generated junk, I am done here. (31.5.25)

Insta: @edumax_1
YouTube: https://www.youtube.com/user/edumaxbatera

Fragment by Friedrich Gattermann

Orchestral Tools