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




Friday 29 August – Top Shelf #1: Future Beats Special


This Friday, Haarp Media and The Workshop are presenting the first showcase to address and challenge generic concept – Top Shelf. This first showcase addresses the genre of FUTURE BEATS (also known as left-field or wonky beats). I for one am fucking excited about this.

Some people might be wondering what “future beats” are, right?

As curator of this event, I figure I owe you guys a bit of shit-talk in my reasoning to putting the show on and why I chose these particular artists.

Well, the essential idea is that there’s a genre called ‘future beats” which is sort of a fusion of future garage and R&B/hip-hop sensibilities, especially in regards to the percussive boom-bap hits and 808 snares. As an objective genre, it checks out in regards to labelling tunes, and you can use it to conform certain sounds to certain sounds.

But just like any other genre, “future beats” suffers from overkill, with 90% of tracks in the tag consisting of barely inspired composition, or being shitty remixes or bootlegs that attempt to carry the genre’s sound unconvincingly.

I feel there’s more of an idea and broader scale to how we can approach “future beats”, and I’ve three distinct questions to ask you as a listener that you might like to take into consideration.

How can we have future beats without knowing our past?

My personal opinion is that if you want a serious understanding on the in’s and out’s of electronica, it’s important to have a healthy respect for electronic music’s rich and lively history. The whole idea that music has reached this point can only be attributed to the past. With no recognition of the past, how can we have a future – or for that matter – even know where we are right now historically?

When we consider our past in beats, how does this relate to the genre of future beats?

The textbook definition (if there is one) of future beats is rooted in hip-hop, r&b, garage, and all the textural embellishments of electronica that make niche beats so unique and pleasing on the ears.. But what significant aesthetics would we take into consideration here?

Well, there’s the boom-crack of original dirty hip-hop percussion. There’s the rolling 808 snares that continuously make us confuse future beats with chill trap. There’s the off-centre and unstable synth work that wobbles and fizzes and crackles in a dervish with the central key melodies. Another important thing to observe with future beats is the progressed use of 2-4 timing, as lended from dubstep and trap (and their variations). Also present in a lot of tracks tagged as future beats is the central timing of juke/footwork, as well as the frenetic and trippy syncopation of the crazy 160bpm genre

it might be remarked that rather than future beats actually being a certified and original genre, it’s actually a hybrid of various past genres. If this is the case, why don’t we expand on the sounds that are already present in future beats?

What ways can we expand on these foundational ideas of “future beats” as so far defined by the genre?

Where else do the previously stated aesthetics fit into modern electronica? What other styles of beats relate to generic future beats, and how can we make it all flow together?

For me, the answer to this question is Haarp Media’s leading slogan for genre – Submersive/Subversive. Never do what’s expected out of you.

Subversion is key to the expansion of future beats and indeed key to injecting life into any stagnating genre or sound. We need to keep thinking, we need to keep subverting in order to remain fluid and stop stagnation. Music – and indeed life – rots without subversion. We need the chaos of motion and anxiety to keep us in agitation, or any given body will basically die on the inside. Subversion, motion, life, chaos, alertness, (non-paralysing varieties of) anxiety, all these things are one and the same.

If we at Haarp Media say we’re going to do a “future beats” joint, you can expect not much of the event will conform to DJ Joe Blow’s generic set of “future beats”. We wouldn’t want to bore you shitless.

Our artists and how they tie in with these ideas….

I feel that the five artists we have playing at this first edition of Top Shelf will take us through five seperate trains of thought and movement involved in future beats. These modes will be represented by the five artist’s approaches to DJing/production and their unique tastes in music. All five DJ/producers come from our own city, so therefore I feel symbolically represent the collective local mind’s attempted definition of “future beats” within the global macrocosm.

Some modes within our showcase of future beats are obvious, whilst others may not initially seem to be entirely related to future beats if you weren’t to read this article.

Of course, the artists may essentially disagree with these statements and say they’re just playing beats, but let’s not spoil the spell here.



Dave Di Paulo is Australia’s most prolific representative of contemporary future beats as a DJ. His small label Uncomfortable Beats has helped unearth a lot of new sounds, and quite a lot of these sounds are also future beats/wonky in terms of genre. You also couldn’t get a more active guy in terms of his involvement in the overall scene in Melbourne, and this also affects the eclectic degree to which Able8 presents future beats.



Oh, that guy. Okay, so I guess I can say I’m basically influenced by all these artists and ideas. I’ll be keeping things fresh by mashing the different aforementioned aesthetics of future beats together in a way that’s chaotic and unpredictable. But hey, wouldn’t it be funny if the promoter of a future beats event barely even played any future beats? Maybe I’ll end up playing a whole set of micro-house to rock the boat of what you think are percussive elements of tomorrow.



Angus Green

This guy has always been expected to play “glitch-hop” (another genre I have qualms with in definition) at every “normal” gig he plays at, but recently he brought out an album that was more “future beats” than anything. I think his ability to keep fluid as a producer is awesome, and he represents cleaner yet glitchier ideas I have of the whole future beats movement in Melbourne with his sweeping synths and melodic nouce. He’s an ambassador for Australian festival-style future beats, and  it’d just be great to have a broader audience hear his stuff.



A producer who to me is possibly the most under-rated hip-hop producers in Australia, and has a clever and chaotic way of making beats that might classify him with some of his listeners as being a left-field or wonky beatsmith. He pretty much represents my previous point of needing to know your foundations in order to progress to some sort of future beat. This is reflected in his rough and ready percussive sampling, performed live utilising his “caveman” approach to hardware.



Melbourne’s #1 party DJ always gets things cracking, and his element is also in subversion. Not only can you expect future beats here, but also footwork, UKG, and pretty much where-ever the hype and dancefloor vibe leads. The main reasoning for me to put 2fuddha on is that he gets a party storming, and this to me is the main reasoning with any urban-styled beats playing in a Friday night club, am I right?

So there you have it. Not much more to say, really.

Get the fuck on down to the first adventurous episode of Top Shelf – Future Beats gone Haarp Media style, baby.

Written by Kayhat.

Thursday 29 May – Hi-Jak @ eFiftyFive


Another great local night at eFiftyFive featuring Kayhat, U-Wish and Able 8 as DJs from 8pm-1am, which will leave you time to get the tram home.

Great chemistry between the three of us was shown last time in a packed-out and cosy venue, which will be getting even cosier now that it’s coming up to Melbourne winter.

Get down into the basement for a nice, sloppy Thursday evening on a nice, sloppy couch with some nice, sloppy beer and toasties, whilst you and your friends get nice and sloppy.

8pm-1am. eFIftyFive, 55 Elizabeth Street, Melbourne CBD. Free!

Facebook Event Page

Written by Kristian Hatton.

Saturday 1 March – MMVF Vibrant @ Laundry Bar

A quick mention of this visual feast presented Melbourne Music Video Festival this evening at Fitzroy’s iconic Laundry Bar.

This event – dubbed Vibrant – will feature the launch of Able8 and Melody Myla‘s new clip, and is headlining one of Australia’s rapidly rising audio/visual sensations – Friendships.

Supporting these acts but not understated in comparison are Audego, Tincture, visual artist Slippery Jim, and Nikki Sarafian.

Tickets: http://laundrybar.oztix.com.au/Default.aspx?Event=41504

Starts 8pm. Laundry Bar, 48-50 Johnston Street, Fitzroy. $14.30.

FB Page: https://www.facebook.com/events/254123208095716/?ref=2&ref_dashboard_filter=upcoming

Written by Kristian Hatton.

Thursday 27 February – Hi-Jak feat. Kayhat + U-Wish + Able8 @e55


Come along this Thursday evening to catch Able8, U-Wish and myself (Kayhat) play at eFiftyFive for a session of beats that are right on the pulse of where it’s at right now.

I have to say that it’s always fun playing with two guys that have become very close to me as workmates and friends over the last couple of years, and all of us are really passionate about our scene in Melbourne. It’s something we believe in enough to be out night after night as three guys who are out all the time.

Why is this night different to other nights? Why would you want to see us play yet again? I’ll tell you why plain and simple without embellishment.

When us three get together, some magic happens. We all come from similar places, yet we still contrast each other in a really positive blend. Last time we got together at eFIftyFive, we had everyone engaged to our sound platter from start to finish.

Do you detect a little bit of bias in this article? Of course. Can any journalist who does things on a voluntary basis be impartial? I love what I do, and it’s what I am in essence. We’re all about love for our beats community, and we’ll show you this love when we combine like Voltron for you.

Hope to see you there, kids, much love. We fucking represent.

8pm-1am. eFiftyFive, Basement Level, 55 Elizabeth Street, Melbourne CBD. Free!

FB Page: facebook.com/events

Written by Kristian Hatton.

Saturday 22 February – The Lowdown Hoedown


So we assume you’d like to know where the location of this event is?

First, allow us to tell you a little about why we decided to do an outdoor event. Or just scroll through the rant and check out the location at the bottom.

I was raised in northern NSW, which had a very strong outdoor electronic music scene. Unfortunately, this scene was extremely one-dimensional. You could only play certain kinds of psytrance, or at best, certain kinds of “glitch-hop”.

Note I place inverted commas there, as the majority of Australian content produced tends to be downtempo melodic electronic funk, based around similar melody structures to psytrance. This deviates from the originators like Prefuse 73, and has absolutely nothing to do with actual hip-hop.

Anyway, where were we?

There was very little chance of any other form of electronica getting on the program of NNSW, but this never stopped my notion there were plenty of other ways to create synergy with an outdoor atmosphere through electronic music.

Now I live in Melbourne, where a lot of possibilities have been generated in recent times from such festivals as Let Them Eat Cake and Earth.

Together with my fellow conspirators Warpa!nt (of Lowkey) and Rolex Bifta (of Rogue Magnetic Sound), we aim to present a showcase that is more in touch with contemporary urban sounds and representative of Melbourne’s electronic music scene, except conducted in a way that has a better feel on the outdoor tip.

How do we intend to do this, you say?

We are going to focus on drum and bass, hip-hop instrumental off-shoots, ghetto tek and house, and deep dubstep, of which we think are more valid electronically in Melbourne’s urban climate of who we are and what kind of sounds really drive us.

To get this job done the way we envision it, we’ve gathered a 100% local line-up of people you hear playing around the city on a weekly basis, representative of all those different sounds you hear laced through all your favourite town bars.

We’ll also be playing this through the very awesome full Rogue Magnetic Sound rig, which packs a whopping 10k of soundwaves. There’s no residencies for miles around, so I doubt the cops will have reason to complain and will let us have our right to play. We’ll also be shutting down before midnight in consideration of native fauna.

We’ll be placing all of this in Warrigal Park in Heidelberg, close to the Heidelberg Cricket Club. We’ll let you work out how to get there, or you can figure out how to contact me if you have any further questions about the party.

Bring fun stuff to do (hoops, juggling balls, frisbees, etc), your own grog (no glass if you can help it), cushions to place your bum on, and an open and positive mind to electronic music possibilities. There’s also a river nearby, so bring some togs and a towel, and we should hopefully have some BBQ food on site too, and also face painting being done.

See you there! Let’s recreate the term “doof” 😀

2-11pm, Outdoor Location TBA, By Donation (suggested $10 to cover our costs).

FB Page: https://www.facebook.com/events/588610204552707/

Written by Kristian Hatton.

Hi-Five: Melbourne’s Producers/DJs and Their Current Favourite Track – Part 6

Selector #26 – Able8


Able8 is director of Uncomfortable Beats, a member of The Operatives, and holds a residency at The Lounge featuring other local artists on Tuesday nights dubbed Tastemakers.

Originally from Perth, Dave “Able8” Di Paulo‘s main hobby is producing and performing stripped-back boom-bap beats, as well as making forays into experimental bass styles. He also works with UK rappers Benny Diction, Biet Nun and Melody Myla, as well as local rappers like Julez, Manix, and a host of others.

Track Selection: Evil Needle – Groovin in Heaven (HW&W Recordings)

“Every time I hear this track it brings such a good vibe and reminds me that Hip-Hop will always be at the core of what I do musically. It influences me to go back and write some bouncy, jazzy beats, but also makes me want to drink a cider in the sun…”

Selector #27 – U-Wish


U-Wish aka James Harris is another Perth/Melbourne cross-over, who shares residency at the Haapy Mondays sessions (Horse Bazaar) with Kayhat. He also works with Kayhat and Able8 in beats sessions at eFiftyFive, and is affiliated with SK, Titus12 and Ghostsoul.

James is also involved with his own hip-hop project – The Cymatic Society – and is currently producing hip-hop beats, and DJs for the likes of Melody Myla, New Dub City, Vytal Juan, Seeka and Vic the Bitter.

Track Selection: Onoe Caponoe – Narnia on Pluto feat. Jehst (Audio Doughnuts)

“Although this track is a couple years old, I have only recently discovered Onoe, and love his unique flow on this haunting beat alongside Jehst.”

Selector #28 – Andy Clark


Andy Clark has been DJing in Melbourne since late 1998.

He has previously held a residency at the Laundry Bar for three years, Soft Belly for three years, and has currently been residing at Fitzroy Beer Garden for the last six-plus years on Friday and Saturday nights.  

Andy also runs nights at various venues in and around Melbourne and in the Dandenong Ranges with partner Melalani Carroll under the crew name Scarlett Vogue.

Track Selection: Jani HO – JotainUnohdettua Mutta Uutta (self-released)

“Finnish born, Melbourne based artist/producer Jani HO founder of label Finn Audio has always been a major influence for me.

Jani has been living in Melbourne for the last 18 years and has established himself as an artist in Melbourne, also starting and building is label in Melbourne and only features local artists on his label such as Voiteck, Booshank, Sam McEwin, myself and many others.”

Selector #29 – Rhythmik


Rhythmik is the creator of Culture Jam, a Melbourne party crew that see events as experiments and puts a fresh new theme to each one. This theme is then teased out through music, performers and creative promotions.

His DJ sets and line-ups have the same approach, to bring different styles and cultures together in a seamless fashion.

Track Selection: Rob Clouth- Cloud Control (Traum Schallplatten)

“I love this track, it’s techy, glitchy and mixes a bit of chaos into the order, perfect festival afternoon music and awesome summer goodness.”

Selector #30 – Tim Shiel


Tim Shiel is a seasoned veteran of Melbourne’s electronic scene. He first released albums, EPs and remixes under the name Faux Pas from 2005-2012, and was previously a valued 3RRR presenter for around six years.

Tim was also involved with pop artist Gotye, touring with him for a couple of years on sampler and keys, and  He now works again on his own production, released a game soundtrack last year for an iOS game called Duet, and collaborates with such artists as Flight Facilities and Bertie Blackman.

Track Selection: Mo Kolours – Mike Black (Exhume Music)

“I’ve been following this guy for a few years, he releases tracks here and there and this is my favourite one yet. He’s a Mauritian-via-London producer who makes really smoky, murky beats but with a strong dose of melody and just tonnes and tonnes of “vibe”. Really into this one!”

Benny Diction x Able8 – Life Moves (Boombap Professionals)


Benny Diction is a London-based MC who met Uncomfortable Beats frontsman and wonky hip-hop producer Dave Di Paulo aka Able8 once upon a night out in Melbourne. The two have been steadfast friends and musical partners ever since, and have worked between Australia and the UK to make their first full-length collaboration album together, after a tester with their Spring EP, which was released in May.

Benny Diction’s rhyme flow is a dense tapestry of fast/slow delivery. Able8’s shuffling jazz sample-laden beats are tailored within this album to cater for Benny Diction’s lyrics, but still have presence to match many American producers pound for pound. The combination actually seems to make Able8’s beats exude a warmth I haven’t heard in previous works, as heard particularly in tracks like ‘So Damn Music’ and ‘Over Here’.

There’s also guest appearance by rappers like Melbourne’s formidable freestyler Julez (in ‘GHD’), and by American rapper Big Bronz in the sinister hoover-bass-hovering ‘Occidental Damage’. These cameos help make Life Moves shine a bit more, but they are outshone by Benny Diction’s unrelenting barrage of cleaner-than-thou wordplay.

Other stand-out moments for me include ‘Life Moves’ and ‘RPM’, which flex Able8 further in his vein of bass-style boom-bap. The latter track is effective in its minimalistic production approach and lack of vocal-interrupting frequencies, which helps rappers Benny Diction, Tony Skank and female vocalist Myla Vinyl to occupy the forefront of the track to be heard better. I also enjoyed ‘Fagin’ for Benny Diction’s rapid triplet delivery, and again show a new facet of Able8 production I haven’t heard before with its hovering piano sampling and 2-4 timing signature.

Life Moves is hip-hop for hip-hop’s sake, with Benny Diction spitting on point to compliment Able8’s warm, swinging J Dilla-style beats like pen compliments paper. This will hopefully will be regarded as nice listening by a broader audience of hip-hop lovers with some luck and time.


Written by Kristian Hatton.

Event of the Week: Thursday 20 June – Uncomfortable Beats feat. Syncretia + Aneurythm


Uncomfortable Beats have been laying low since their monthly residency at Bar Open ended last year, and now focus primarly on their record label. The only couple of events that really raised eyebrows were for Doshy and Ribongia, but this event should up the uncomfortable stakes again.

Syncretia and Juxtpose will both be releasing albums shortly (Spicy Sunshine and Transference respectively), and this event serves to launch their sounds live to an intimate gathering at Fitzroy’s iconic Black Cat bar. Also featured and definately not overshadowed are Lismore’s Aneurythm and Sydney’s Ears.

This will be Aneurythm’s first Melbourne show, so get in early to avoid not getting a nice seat, as this will definately reach capacity, what with being free and all. Uncomfortable Beats resident and curator Able8 will also be representing in his usual immaculate style as well.

Thursday 20 June 2013, 8pm-1am, Black Cat, 252 Brunswick Street, Fitzroy.

FB Page: https://www.facebook.com/events/419160251524955/?ref=2

Sounds Like: www.syncretia.com