Hijak Special Bios #7 – Able8

Last but never least on our showcase list (although of course there’s no such thing as least w/ Hijak) is one Able8.  Melbourne niche beats’ nicest fella and overachiever with a ridiculous amount of qualifications to boot. The pies/fingers ratio is off the hook right here.

Top shelf future beats production with a couple of albums out, label king at Uncomfortable Beats, a zillion tracks on small label compilations all over the shop, and sure-fire collaboration with such talent as Melody Myla, Benny Diction and U-Wish.  His dedication to beats in Australia is truely remarkable, as will be his DJ performance at Hijak.


Uncomfortable Beats/Able8 Bandcamp:  uncomfortablebeats.bandcamp.com
Able8 Soundcloud:
Able8 Facebook:  facebook.com/able8




Hijak Special Bios #6 – U-Wish

Originally hailing from Perth, James Harris aka U-Wish has solidly been carving a niche out for himself for the last couple of years.  At this upcoming Hijak special, you can expect him to be right on point as usual with his unique blend of hip-hop, future beats and bass music.

One of Melbourne’s most in-demand DJs on Thursday, Friday and Saturday nights around small niche venues, U-Wish also keeps himself flat-out organising events for his project Cymatic Society, producing and releasing his own beats, and assisting with getting other artists’ tracks together for Uncomfortable Beats.


U-Wish Soundcloud: soundcloud.com/u-wish
U-Wish Facebook:  facebook.com/u-wish



Hijak Special Bios #4 – Aoi

Coming live with brand new material debuting exclusively at Hijak is multi-skilled b-boy and Melbourne underground sensation Aoi.

This guy is on a quest to be the best where it counts for things hip-hop.  His portfolio is impressive to say the least.  eight albums (many of which are free at his Bandcamp), the Spotwelder remix tapes, a couple of other mixtapes, seven MC albums under his now-deceased alias of Prince Mackerel (who died in a terrorist attack on Disneyland), spittin’ bars under his new moniker of Slums Mack for a host of single tracks with rap group Stonecuttaz, and beats maker for TMFSE (as part of a whole album on US label Smoker’s Cough), Jak Tripper, Lukey Cage, Noemotion Goldmask and The Baroness (w/ Class A).

His appearance at Hijak will cement his position as one of the most solid acts you should be following in Melbourne’s matrix, with a live set performed without screens, utilising his self-professed caveman technique using a pair of samplers and turntable to work his magic.  Do not miss out on this one if you know what’s up.


Aoi Bandcamp:  aoibeats.bandcamp.com
Aoi Soundcloud: soundcloud.com/aoibeats
Aoi Facebook:  facebook.com/aoi3000



Hijak Special Bios #3 – Merc Swazey

Merc Swazey is an exciting and hilarious live hip-hop MC headlining the show, with brand new material debuting exclusively at Hijak!  This new work utilises his new alibi highlighting the undeniable swag of Andre Agassi.

Formely a rap-battling heavyweight in New Zealand known as Hash, Merc Swazey was created on a whim to satirise and have fun with current rap trends in an on-point and engaging manner, but still as formidable as a real hip-hop MC from his rap battle days.

Swazey has worked with trap producer NettSmoney to create a tropical and catchy rap flavour that’s humourous and catchy as fuck, yet grounded in solid and talented lyricism and rhyming patterns second to none.


Merc Swazey/Nett$money Bandcamp:  nettsmoney.com/album/loud
Merc Swazey Soundcloud:  soundcloud.com/merc_swazey
Merc Swazey Facebook: facebook.com/merc.swazey/



Same Shit, Different Bucket – Updating Rituals in the Doof World

It’s come to a time where I’m about to leave this urban landscape of Melbourne.  I’m about to come home to northern NSW.  There’s not much of a scene up here electronically, except for outdoor electronica aka Doof.  This is filling me with apprehension.  I’ve always felt slightly at odds with this culture, and my want to get beyond it was a partial reason for leaving in the first place.  I’m still trying to come to terms with this scene at turns marred and defined by its embedded rituals and sounds.

So many questions come to mind.  What’s going on?  Where are the brackets these days? How can we define our collective Australian electronic music cultures in a country bred on imports? One place where the war on ideas and approaches seems more pronounced between old and new is in the outdoor scene, and in definition of the never-resolved issue of What Is Doof ™.

The introduction of more popular veins of dubstep in 2009 to the outdoor Australian world found many new champions to extending cultural vocabulary, a lot of whom were previously embedded as psytrance purveyors, punters and performers. Labels like Hopskotch Records began releasing former psytrance artists of the well-known institute Zenon Records producing Canadian and Bay Area glitch-hop almost exclusively.

Independent northern NSW small festival Deliverance imported acts like Eprom and Ill Gates, the latter of whom evangelically converted many young producers to these newer possibilities in sound through focused tours of performance and workshops. At that point, Tipper and other acts were already gaining an increasing fanbase from the outdoors, and psytrance lovers were in open revolt as to what they saw as “their” scene.

It seemed at that time like a revolution. However, old modes of behavior and custom started setting in, and the same old hierarchies re-emerged in full force to structure and govern what was popular within this microcosm.

One could say that the problem with newer forms of outdoor electronic music claiming to break genre programming in Australia is that it’s still psytrance. Similar melodic devices and keys are used to still render that sort of “bush” sound. A great many of the new school of producers I’ve seen at work or interviewed still author with software like Cubase, Fruity Loops and Reason, and still use the same VSTs.

This isn’t to dispute what they do in terms of quality, but overall approaches to writing music haven’t evolved. At worst, newer “glitch-hop” tracks can sound like cheap emulations of their influences.  Those who reach a level of mastery have learned that computer programs can’t emulate hardware with any real level of accomplishment, although it’s always easy to flex smoke and mirrors to fool the open, or those who have more a cest la vie attitude to their musical consumption, which creates less/more conflict.

I say less/more here because some wish to preach tighter sound architecture as preference, but occasionally get a little too passionate, which in turn raises the hackles of those who don’t want this business of craft evolution to interrupt what is otherwise a very fun party.  But criticism and rejection of older ideas is necessary in any evolving craft.

Some Australian psytrance producers – on the other hand – have evolved their craft in terms of what hardware they use, and have embraced use of modular analog equipment and so forth. If you’re already passing a judgement that a genre is going to be shit, then perhaps you’re not listening to the detail of sound architecture. Part of learning to enjoy music is accepting what you’re listening to without judgement. When I write reviews for music, it’s an essential that I try to find the best in what I’m listening to first before I take my blade to it.

Punters are more or less exactly the same when I see them outdoors. They’re still taking the same ol’ drugs, dancing the same ol’ dance, talking the same ol’ shit. The level of sophistication they do this is well-worn in, with accordance with what model of car they’ve decided to work on (so to speak), but all the rituals remain the same.

I actually have learned to revel more in some of these forms of ID and rituals as time progresses. Some more nefarious issues, however, have become massive barriers I simply must acknowledge for my own sanity. One is the same beautiful-people schoolyard culture that used to have me hiding in toilets on lunch breaks, or attempting to fit in when I obviously didn’t.

Some of our rituals are beautiful, some are stagnant, others reek of desperation, while operate exceedingly arrogantly and resist query. For things to evolve, it’s more to do people’s levels of personal conduct and integrity, outside of the ever-permeating hive mind. However, in niche scenes, it usually takes a couple of popular people to adopt a trend before the rest of the sheep come to flock, so we also need this hive mind to a relative degree. But when we identify with it exclusively, problems come forth.

The same application of schoolyard ethics still exist out there in the paddock, except more like a doof version of Lord Of The Flies. In many cases, this new school of outdoor partiers are as unforgiving and as vacuous as any bogan or bimbo at Stereosonic, except they think they’re in some sort of upper echelon, which means they’re even more ignorant and high-powered. In many cases, it’s entry-level EDM lovers who start to embrace the niche trends that keep the wide-eyed magic in the scene, not the older, jaded ones. Perhaps they’re the ones who continue to carry the torch of our idealistic dream.

As we reach a level of confidence, that’s when we have the tendency to not only trim and neaten our own tastes, but unconsciously apply these edits to others. Sometimes this has a less-than-fortunate ending, as strong egos rile up and combat each other when situations become personalised.

Evolution doesn’t have to be forced. It doesn’t have to mean you have to adopt this month’s style of electronica, which to me shows that essential herd mentality rolling on in full force. If you’re going to break your programming, try embracing your true individuality without compromise. </culturaldogma>

Written by Kristian Hatton

Hijak Special Bios #2 – Kayhat

Controversial director of Haarp Media and Hijak, and also up to speed on the decks.  As a DJ, Kayhat has an eclectic history starting from 1995 at the age of 15 as a community radio announcer at Byron Bay’s BAYFM. Since organising his first electronic music event series in 2006, he has organised nearly 100 events in both northern NSW and Melbourne.

He DJ’s an eclectic blend of sounds from techno to footwork to UK bass to trap to hip-hop.  To celebrate his last set in Melbourne for quite a time, he’ll be playing an extended afternoon set, focusing on his impressive mid-2000s minimal house collection of vinyl, but also making forays into up-to-date sounds of UK bass, future beats and house music.


Kayhat DJ sets:  mixcloud.com/kayhat
Kayhat Facebook:  facebook.com/kayhat



Friday 25 September – Future Weird @ Footscray feat. Scotch Egg, Curse Ov Dialekt + more

Future Weird is our event of the week, screw all the other expensive town ones!  Japan native and Berlin alumni DJ Scotch Bonnett will be playing at a massive all-night party in Footscray this Friday.

DJ Scotch Bonnet is the new solo project of Shigeru Ishihara, aka DJ Scotch Egg.  A maverick, crazed with energy and excess creativity, Ishihara’s chance meeting with Matsunaga Kouhei spurred an isotopic explosion of activity and inspiration; the result was new dope style distorted bass and beats now championed by offshoot label, Small But Hard.

Swapping GameBoys and 8-bit limitation for a hefty distortion unit, Ishihara delves deep into bass-driven hip-hop breaks, and melds dense distorted beats with his signature pop sensibility.  Ishihara has collaborated with: E-Da’s (from Boredoms) in Drum EyesBo Ningen’s Taigen Kawabe , Dokkebi Q’s Gorgonn in dub distorting Devilman, and plays bass with electronic pioneers, Seefeel.

The other guests for this event conform to their own formula in terms of generic explanation, but you can expect a blend of hip-hop, hard/breakcore and glitch aesthetics.  This stellar line-up of niche maestros includes Curse Ov Dialect, Passenger of Shit, OVe-NaXxGelidoSnuggy ManSpasmoslopImpatient 8 – bachDJ California CrisisRippleStinkwood and Tarun (DJ SET)

Future Weird is going to be a not-for-profit charity fundraiser.  All profits raised will be donated to Refugees and Asylum Seekers in Crisis through the Red Cross, and it’s only a $5 cover charge. This event is crowned off with it being an all-nighter, located at Hot Spots squat at 20 Buckley Street, Footscray, presumably BYO.  They also have huge sound with four subs and five tops, and the visual will be turned out by Kate Geck and Xenosine.

Future Weird is one of those under-rated winners, and I wouldn’t be anywhere else for the world.

Thursday 24 September – Haarp Media VIP Sessions #1 feat. Ollie Olsen @ Grumpy’s



Who Is Ollie Olsen??

Olsen is now active again as member of three-piece noise and soundscape band Taipan Tiger Girls, who have launched their first full-length album – 1 – in a live show at the Old Bar on 31 July.

As so far as history goes, Norwegian-bron, Melbourne-raised Ollie Olsen developed interest in electronic music in the mid 70s and studied under German composer Felix Werder. He went on to work on a range of experimental work, sound installations and dance music, as well as creating film and television soundtracks.

He was an important part of Melbourne’s punk/post-punk scene in the late 70s/early 80s as leader and vocalist, and with others formed punk bands like The Reals and The Young Charlatans. Post-punk work includes such confrontational bands as Whirlywirld, Hugo Klang, Orchestra of Skin and Bone and industrial techno outfit NO.

In 1984, Olsen was asked to appear with band Whirlywirld in cult classic feature film on the Melbourne underground punk scene – Dogs In Space. He also directed the soundtrack, which featured such artists as Iggy Pop, Boys Next Door, Brian Eno and INXS vocalist Michael Hutchence.

Hutchence was lead actor in the movie, and made friends with Olsen. They afterwards collaborated (along with band members John Murphy and Gus Till) in music project Max Q, a classic Australian electronic album with a theme of political paranoia. They mixed the album in New York City, which was remixed by DJ Todd Terry.

Olsen came back to Australia and was a part of the early techno scene in Melbourne. He played in cities across the country and co-managed label Psy-Harmonics with Andrew Till (Gus Till’s brother and current label manager of Machine). His various projects and collaborations at that time included Third Eye, Antediluvian Rocking Horse and Shaolin Wooden Men.

However, as his music was always uncompromising, he became less interested in generic dance music, and went back to the underground to refocus on his personal projects. After release of album Emptiness in 1999, Olsen re-embraced his noise roots with collaborations on electro-acoustic projects like I Am The Server, and worked with many artists from Australia, Japan (notably The Boredoms) and South Africa.

In 2008, Olsen collaborated with Melbourne electronic composer Steve Law on their drone-based project Mutagen Server. This led to a showcase at Melbourne’s planetarium, along with Robert Henke (Monolake/Ableton designer), who was showcasing his Laying Buddha album.

So as you see, Ollie Olsen has an incredibly diverse and rich history, of which he will be sharing with us all for this most rare of DJ sets. He will also be showcasing other more contemporary experiments into newer genres like witch house.

Please come join us for this very special occasion to celebrate a true Aussie legend of our scene.

Haarp Media VIP Sessions debuts this Thursday at Grumpy’s (125 Smith St, Collingwood). Support DJ Kristian Hatton will be playing his unique blend of contemporary niche genres and old-school know-how from 8-10pm, and Ollie will set it on fire from 10am-12am.  Entry is free.

Friday 10 July – Mahala presents Marc Marzenit @ Railway Hotel Brunswick

So yeah, we said we’d be back later this month, but the good folk at Darkbeat asked us to give props to this new crew starting out – Mahala.

We’re all about helping the little guy, so we’re going along with the shout-out.

Mahala have scraped their dosh together to present Marc Marzenit (Paradigma Muzik) from Spain. In these sitchos of new crews putting on internationals, the biggest gamble is a promoter’s first international show. Please give your full support if Melbourne techno and house are your thing.

The last time MM came down-under in October 2010, he scorched Melbournites at a party series called No Nonsense (supporting Guy J and Satoshi Tomiie). He’s also soon to release an artist album on Henry Saiz‘s label – Natura Sonoris.

Supporting acts on the bill are Rollin Connection, Lister Cooray, Stockholm Syndrome, Handsdown, J-Slyde, Pat Tassone, Matt Waters, Baz Za, Oliver Winton, Technich, Dave Juric and Scott Freedman.


My fucking oath we are. If you hurry up quick snap and ask us nicely for a double pass at haarpmedia@gmail.com , you’re right on the money, my dude.

Now what was I doing? Oh, that’s right, lapping up the sun in Thailand. If you’re around Koh Chang, come see me play some beats Friday 3 July at Siam Beach Resort on the Lonely Beach side of town. Woops, didn’t mean to cross-pollinate 😛


Genre: Techno, house

Time: 8pm-late

Place: Railway Hotel Brunswick, 291 Albert Street, Brunswick.

Cost: $15/20 + BF – TICKETS HERE

Facebook Page

Saturday 23 May – Glyphic/Detrimental Audio present Tunnel Vision EP Launch @ Sub Club

Glyphic celebrates the launch of his first ever EP Tunnel Vision, which is being launched on Monday 25 May on local label Detrimental Audio.

The EP is cited as being rooted in early tech-step (a minimal and atmospheric sub-genre within drum and bass) with glimmers of jungle influences.

Denial (Live), Lex, J Chau, Kymaera and Token will be playing in support.

MC Pab will be hosting.


Genre: Drum and bass, jungle, dubstep

Time: 10pm-late

Place: The Sub Club, Flinders Court, Melbourne CBD

Cost: $10

Facebook Page

Friday 22 May – Hi-Tech Shenanigans feat. Loose Connection (UK), EurythmyY (UK), Sense Datum (UK) @ MyAeon

Mithya Music return to home club MyAeon for their second instalment of Hi-Tech Shenanigans, featuring headliner Loose Connections from the UK.

Also featured are EurythmyY (UK), Sense Datum (UK), Farebi Jalebi, Glacial, The Chojin, Salamangkero, Pakman, Ish , FMY, Tank Grrl, Folding Time and Tarun.

Expect the beats to be psychedelic, fast and furious. Your dance environment will be brought to life by the decor finesse of RayCosmo. If you can prove that it’s your birthday this weekend, attendance is free as can be!


Genre: Hi-tech, psytrance, progressive trance

Time: 10pm-6am

Place: MyAeon, 791 Sydney Road, Brunswick

Cost: $15 before midnight/$20 after midnight

Facebook Page

Friday 22 May – Darkbeat presents Clarian (Canada) @ Railway Hotel Brunswick

Top ranking techno and house crew Darkbeat present Canadian new-school house producer Clarian this Friday at the Railway Hotel Brunswick.

Formely one half of tech-house group Footprintz, Clarian heads to Australia for his first tour to exhibit his branch of pleasant and easy-going experimental house with a warm, organic sound. Definately a class act to follow.

Local support acts include Jamie Stevens, Phil K, Rollin Connection, Lister Cooray, Dave Juric, and more TBA.


Genre: House, techno

Time: 10pm-6am

Place: Railway Hotel Brunswick, 291 Albert Street, Brunswick

Cost: $18.40 (Moshtix)

Facebook Page

Friday 22 May – Colonel Mustard’s present Orangutan Fundraiser @ Bar 303

Colonel Mustard’s are holding a charity reggae/dancehall/dub party at Northcote’s Bar 303 to raise funds for Orangutan Foundation International.

This organisation help by…

  • Buying up and maintaining forestland specifically for primates to live,
  • Rescue Orangutans from captivity and from locations destroyed for palm oil, and then provide specialist care for their preservation and continuity,
  • Maintaining Camp Leakey – a primate research facility where many of the world’s top zoologists gather to study Orangutans and their habitats,
  • Encouraging awareness and alternatives for the Palm Oil industry, which has been responsible for a large portion of primate endangerment in SE Asia.

As of 2015, Orangutan numbers in their habitats in Sumatra and Borneo are believed to be 40,000, a shocking drop from a decade ago of 60,000.

All proceeds for this event are slated to go directly to the OFI organisation, specifically for a fostering service for “adopting” primate infants, who receive the funds for their care. All money raised is for this adoption process.

Asides from the cause, you will be getting great value for the event anyway. because reggae gigs in Melbourne are well-known for their killer sound systems.

The rig in effect this time around will be provided by the Echo Chamber Soundsystem crew, and your selectors for the evening are L Que, Ranking Yoni, Red Robin, The Colonel and Mamacita Bonnita. There will also be live digital sets from Naram and Art, and the accompanying vocals of Dizzy Dee.


Genre: Reggae, Dancehall, Roots, Dub

Time: 7pm-2am

Place: Bar 303, 303 High Street, Northcote

Cost: $10 (ALL proceeds to go to OFI)

Facebook Page

Saturday 9 May – Bleep Cuts presents Miles Cosmo ‘Wet Brain’ album launch

Local producer and live electronic performer Miles Cosmo is launching his “most accomplished album to date” entitled Wet Brain at The Ferdydurke on Saturday night. This event is being presented by Bleep Cuts, who are known for working eclectic and informed events with live elements.

Miles Cosmo and other live performers like ATMA and Juxtpose and are mainly focusing on techno and house variants, and there’ll also be live soundscaping by Split Silo and the kind of awesome smorgasboard as you usually expect to hear from Blend Corp PBS DJ Bevin Campbell.

VJ Isaac Christie will also be putting on a visual feast for your eyeballs.

Physical copies of Wet Brain will be available on the night, bring cash.


Genre: Live electronic music, techno, soundscapes, bass music

Time: 7pm-late

Place: Ferdydurke, Levels 1/2, 239 Lonsdale St, Melbourne CBD

Cost: Free

Saturday 9 May – Groundawg Day: A Bass Music Benefit

A little birdy told me that one of Melbourne’s popular and renowned street artists – Mishap – is putting on an outdoor event to raise funds. It’s for a good cause as her dog Dilla is in need of cruciate ligament therapy for both of his hind legs. He’s hardly going to pay for that in dog biscuits now, is he?

So enter Melbourne’s charitable niche beats, graffiti and event crews, who are all basically joined at the hip. They’ll be helping Mishap put on a 12-hour outdoor spectacular in Preston’s park bushland from midday until midnight on Saturday.

Live acts, MCing, DJing of multiple genres, live graffing on a 70 metre wall, light installations by Hexananigans, and the kick-ass bass of badman sound system Rogue Magnetic Sound. What more could you want? All other money raised outside of Dilla will be donated to the Lentil As Anything Urban Garden Collective, which are putting up a brand-new space in Preston for the community.

Get down for this one, there’s no better cause this month.

Performer list and set times…. 

12:00-1:00: Erik parker
1:00-2:00: Wyldcard
2 :00-3:00: Heptune
3:00-4:00: Pauly fatlace
4:00-5:00: Shikung
5:00-6:00: Ghostsoul
6:00-7:00: Warpa!nt
7:00-8:00: Dizrupt
8:00-9:00: Wonqirose
9:00-10:30 Julez X Able8 X Manix
10:30 -11:30: Dub princess and succulent
11:30 – 12:30: SK


Genre: Hip-hop, DnB, Reggae, Trip-hop, Trap, Future Beats, Dubstep

Time: 12pm-12:30am

Place: [Secret location – Contact haarpmedia@gmail.com for directs]

Cost: $20+bf (ticket-only entry at Eventbrite)

Friday 8 May – Subjackt: May Edition @ Croft Institute

Subjackt is a monthly presentation of niche electronic music taking place at boutique bar – The Croft Institute. It’ll have contemporary genre buzzes to suit your ears, and will feature an all-female line-up upstairs to farewell local DJ C:1.

For those of you who have never been to this place, maybe it’s time for you to check it out. It’s nested in the street art-covered back alleys in the heart of Melbourne CBD, winding all the way up to the end of Croft Alley. The bar is themed as a test laboratory downstairs, and as a vintage gymnasium upstairs.

There’ll be two levels of DJs for your dancing and drinking pleasure for a cheap $5. Also there’ll be live VJing by Slippery Jim.

Upstairs: Asylum, C:1, CC: Disco, Chiara Kickdrum, Lotus

Downstairs: Able8, Aoi, Bevin Campbell, Tigermoth


Genre: Hip-hop, Future beats, Disco, House, Techno, Bass, DnB, Footwork, Jungle

Time: 7pm-late

Place: The Croft Institute Melbourne, 21 Croft Alley, Melbourne CBD

Cost: Free

Friday 8 May – HEART: Art with Heart @ ACU Melbourne Gallery

Another art show featuring local artists with all proceeds of sold artwork being donated to Arts Access Victoria – a strong organisation in arts to enable folk with disabilities.

This exhibition showcases art presented and created by those who live with impediments, and all pieces will be for sale on silent auction. Get in early at 7pm to place your bids and get some free snacks and drinks. If you pay cash, you’ll be able to take yourself home any art you may have successfully bid for.

Beats are presented by Trnsmt, a non-profit Melbourne live streaming collective.


Genre: Art show

Time: 7pm-late

Place: ACU Melbourne Gallery, 26 Brunswick Street, Fitzroy

Cost: Free

Friday 8 May – Taciturn @ House of Bricks

Taciturn is an art showcase presenting the artwork of thirteen young artists that let their art do the talking, as the title of the event suggests.

These artists use a range of mediums in their creative expression from oils to aerosol to illustration, and come from a diverse collage of backgrounds.

Artists featured: Max Richards, Knock, May Sivakumaren, Mathous, Shani Bell, Nic Malacari, Tayla Broekman, Makita Rose D’Andrea, Chris Hancock, Putos, Mups, Steven Luks and Shay Baker.

Join with them and engage in their work in this community celebration of art.

There’ll also be music pieced together by Rum Balls. Above art by Mathous.


Genre: Art show

Time: 7pm-late

Place: House of Bricks, 40 Budd Street, Collingwood

Cost: Free

Thursday 7 May – Inbtwn (The Operatives Edition): JPS X Hooves ‘The Ritual’ EP Launch

Melbourne future beats collective The Operatives take over weekly Section 8 session Inbtwn, an event which electronic music collectives guest feature on a rotating roster.

This particular Inbtwn session is important to The Operatives as it marks the launch of JPS X Hooves EP – The Ritual. This long-anticipated release on San Francisco label Muti Music is the debut of the two local producers, and just dropped on 4 May.

Jerry Poon aka JPS is the director of The Operatives and also collaborates in the organization of New Years Day festival Let Them Eat Cake. Johnny Clayton aka Hooves was formerly drummer for New Zealand drum and bass band Shapeshifter.

Together they have dreamed up this eclectic EP to present in a free show on Thursday.

Supporting the duo are DJs A13, Nam and Rintrah.


Genre: Drum and bass, Future beats, Footwork, UK bass

Time: 6pm-late

Place: Section 8, 27-29 Tattersalls Lane, Melbourne CBD

Cost: Free