Haarp Magazine Issue 1 + 100 Most Influential Albums – pdf/print

After a lot of figuring out what the hell I’m doing, here’s the products for you – The first Haarp Magazine and 100 Most Influential Albums.

Haarp Magazine works in line with our Haarp Media VIP Sessions event brand, so it features an in-depth look at our first VIP star – Ollie Olsen.  The mag also features our controversial feature on Venetian Snares, a gig guide for the rest of September and October, two gigs we think are hot for that period, and a whole bunch of older reviews.

Expect our next issue in late November, where we will present our next guests for HM VIP Sessions, have pretty much the same format, but with more content and getting better all the time!

If you would like to be a contributor or you have some red hot tips for us, please email us haarpmedia@gmail.com

The 100 Most Influential Albums list is what albums we think have shaped electronic music to this date, and is only a first version.  It has a wide blend of listening, features all covers, has a short yarn on each one, and is interactive – meaning you can listen to the albums and purchase them too.

All free for you!  Please give feedback if you can 🙂

Print – Haarp Magazine – Issue 1

Web – Haarp Magazine – Issue 1

Print – 100 Most Influential Albums


Mag – Front Cover


Mag – Back Cover


100 Most Influential Albums – Cover


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.

Let’s Have a Comments Party! – New Comments Feature at Haarp Media

It’s time to fight and troll at Haarp Media, everyone!

Our comments section is now up at the end of every article, courtesy of the good people of Disqus. Let’s get ready to ruuuummmmble! >__<

Unlike most publications, we encourage everybody to disagree as much as possible with us, cause major flamewars, and generally be cunts. Basically, we advocate freedom of speech and will try not to judge.

Moderation will only be enforced if you say things that are against our personal lives. Free free to say articles are shit or whatever though, we welcome it and welcome the chance to be more interactive with our audience.

Written by Kristian Hatton.

Friday 15 March – Triple Threat: Haarp Media’s Third Birthday!


I never really saw this thing going for this long. I don’t think it’s really gone that far, but I guess it’s gotten a bit of a rep around Melbourne. It’d be nice to think we have gotten a bit of a rep as a media outlet that does things with integrity, honesty and from a place of community and grass roots.

It’s our third birthday now, so we’re chucking a party. 2fuddha, Lady Banton and I (Kayhat) will be playing some beats at Horse Bazaar.

We’ve got a lot more to come in the next year, and things should see us finally getting this blog into a proper online magazine format (as I’ve been procrastinating about for more than a year), maybe some print, maybe some new writers we can rely on, maybe some great new parties with bigger names.

In another three years, we’ll still be doing exactly what we’ve always attempted to do, support local arts and culture, present an eclectic range of electronic and hip-hop music, put on some great small parties, and provide a good grade of music journalism without being lazy or resorting to cheap tactics to get your attention.

Thank you to all our readers and supporters, I love you all and it’s an honour to be a part of it all. Come celebrate with us this Saturday and let the good times roll.

8pm-1am. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Entry by Donation (suggested $5).

FB Page: https://www.facebook.com/events/282520565236528/?ref=2&ref_dashboard_filter=upcoming

Note: please support us by donating at this event, any extra money we get will go towards paying our website guy to get things up and running in an awesome new format to support the beats community with.

Need more reasons why? Here, take a look at our output and list of support given…


Ghostsoul, Lewis Smart (Asylum Seeker), Morganics, Abe Ape, Mote, Lilly Pilly Photography, Aoi, DJ CTOAFN, Aneurythm, Lysdexic, Sam I Am, Srialdabaoth, Bevin Campbell, Kymaera, Juxtpose, Chiara Kickdrum, Sailax, Stryka D, Titus 12, DJ Lame, Dubfonik, Wednesday Experiment, DJ Lickweed, Syncretia, Decksi, Rory McPike, Baddums.


Haltya, Pole, Netsky, Filastine, Kode9, Max Cooper, Unsub


Christchurch Quake Relief Album, Retort Records, Hopskotch Records, Bedroom Research, Lodsb, Ribongia, Mike Berkley, Beats Home, Uncomfortable Beats, Dempefka, Aneurythm, Warpa!nt, Homme, Aoi, Lukey Cage, The Hermit, Broque, Modular Expansion, Sarantis, Senseless Records, Anodyne Industries, Erika, Interdimensional Transmissions, Mind Muncher, Namine, PANTyRAiD, Ryan Hemsworth, Wedidit, Magic Panda, Tigerbeat6, Zomby, Monkey Marc, Able8, Flako, Project Mooncircle, DeeP MedI Records, Dan Lagadere, Vanina Hanin, Syncretia, KL, RaRaKIN Collective, Slugabed, Activia Benz, Bass Art, George Issakidis, Swindle, Juxtpose, Shortcircles, Defunkt Dialekt, Irrational Media Society, G3D9, Azured Vault, Plug Research, Kingdom, Vertical XL, Techno Allah, Robot Elephant Records, Bulldozer Rituals, LiL jABBA, Teklife, Sleeper, Chestplate Records, Styles Upon Styles, Egadz, Local Action, Geomatic and Lagowski, Strange Place Records, Inkstain Pro, Sanys, Downfall Theory, Digital Puppy, ABR Records, Silkie, Jonny Faith, Virtual Proximity, Benny Diction, Ghostek, Reeko/Architectural, 96wrld, Druid Cloak, Ghostsoul, Burial, Tigermoth, Titus 12, Reef Relief Vol.1.


City Of Lost Children, Somatica Festival, Epic Concoction, Prehistoric Treats, No Parlay Boat Party, Wobble vs Riot, Earthcore, Wax Museum Ladies Night, Doshy @Uncomfy, Soundwave, Let Them Eat Cake, Daylesford Chill-Out Festival, Bojangles, Baauer, Crack – Hard Electronic Core, Fundraiser for ‘Coach for Tibet’, Moving Forward, BBA, Jeff Mills, Fundamental Frequencies, Espionage, Wobble, Haze @ Loop, Machine, Beat Buffet II – Lentil As Anything Charity, Basement Sessions, Winter Beats Sound System, Wordsmiths, Red Bull Academy events, The Kiwi Invasion, Culprate @ RMH, Ruckus, Deepchild, Outlook Festival Launch Party, Terrobang, CCR present Decade, Unsub @ Roxannes, Mungo’s Hi-Fi @ Night Owl, Homo Mixtape Launch, Phunk!, Global Bass Music, Electric Universe Collective, Tonic, Lilly Pilly’s Birthday Bashes, Soundbytes, Gertrude Street Projection Festival, Brookes Brothers, Dispatch Recordings Label Night, James Blake Afterparty, Dub FX Christmas Party, Forward Ever, Braindance feat. Daisuke Tanabe, Arthouse, Enter:Outer, Alt Future, Speedy J, Invictus, Enclave, Animator – Future Beats EP Launch, Fireflies, Spring Break, Shapeshifter, Forward Ever, Earth, Opiuo, Render, Bizarro Hip-hop and Experimental Noise, Election Day w/ L-Burn, Alpha Steppa, Are you Mad?, Raise It up Charity Event, JamCube Open Jam, Trust, Melbourne Fresh Industry Showcase, Bort, Bringing It Back To The Elements, Repeat Offender: Robert Hood, Decksi Launch, Help A Brother Out events, Doesn’t Matter events, Disco Bizarre, Autobahn, D-Files, Bananas, Wax On Wax Off, Urban Fervour, Subfetish, MIDI Pipe Organ Project, Bass Cartel Extravaganza, Get The Curse, Rumble in da Jungle Fundraiser, Miles Cosmo Album Launch, Hologram City, Bazaar Stories Storytelling, Slamalamadingdong, Fragmented Sounds, Hip-Hop Stand-Up, USC, Luka Lesson Book Launch, Steppin Out, Awfully Nice, Phillipines Fundraiser, Projections Open Air Day Party, Laneway Safari, Paradisco, Back to Life, The Silastic Party of Boomstix, Radio Residency, Discover Melbourne Beats and Bass, Transmission, Code: Media Lab Melbourne Fundraiser, Shiriken + Minimum Chips, Entropy, Mad Bass Ting, Streetfighter II Tournament, Tastemakers, BUMP, Mellow Dias Thump, Network of Lines Album Launch, Taka and Fumi’s Karaoke Party, Ferdydurke’s Friday Sessions, Rizky’s Block Parties, Gravitate, Midweek Beats.


Hopskotch Records, L-Burn Illuminati, The Operatives, Epic Concoction, Uncomfortable Beats, Motio Productions, Twisted Audio, Retort Records, Beats Home, All-City Bass, Whomp!, Adapted Records, Scarlett Vogue Productions, RTIST, Wobble, Riot, Earthcore, Heartical Hi-Fi, Adrian’s Wall, Wax Museum, Beat Buffet, Lowkey, Bojangles, Rats, Machine, BBA, Hoodratz, Xandepic, Culture Jam, Combat Wombat, Rogue Magnetic Sound, We Built This Pyramid, Caribbean Cook-out, Heavy Innit, Spacewalk, Electric Owl, Psy-Harmonics, BBA, Enig’Matik Records, Funf Touring, Darkbeat, Rock Like This, Black Market, Foolproof, Kinematic Records, Pullproxy, Resident Assistant, Time Out Magazine, Cyclic Defrost, Pitchfork Media, XLR8R, Village Voice, Movement, Blend Corp, 50-50, Onepuf, RaRaKIN, Bass Art, Ruckus, Terrobang, CCR, Trabeadelic, Electric Universe Collective, Dubstep Australia, Soundbytes, Dispatch Recordings, Youth In Revolt, The Frequecy Lab, Space is the Place, Mokumo, Virtual Proximity, Factory, Tekstep, Castle Music, Instinct, New Dub City, Stable, Doesn’t Matter, Baker Street, Melbourne Techno Collective, Melbourne DnB Movement, Daftwho?, KISSFM, PBSFM, TRNSMT, Triple R, Brothers Hand Mirror, This Thing, Sinister Jazz, OPM Design, School of Thought, DIY Hi-Fi, Dance Technique, Rubix Funhouse Fridays, Mellow Dias Thump, Novel, 303, Too Much, All Good, Ethno Tekh.


Miss Libertines (RIP), Horse Bazaar, The Laundry, Black Cat, Liberty Social Club, Brown Alley, MyAeon, Loop, The Dojo, The Night Owl, Boney, Howler Melbourne, Noise Bar, Cape Lounge, Level 2 Danceclub, Rubix Warehouse, Ferdydurke, eFiftyFive, Thornbury Local, RMH – The Venue, Roxannes, The Lounge, Evelyn Hotel, Hi-Fi Bar, The Forum, Mercat, New Guernica, Section 8, Tote, Revolver, 161 Rooftop, Prince Bandroom, The Espy, Workshop, Dsico Beans, Revolt Artspace, Forgotten Worlds, Bar Open, The Malthouse, USC, The Bottom End, I Know A Place, CERES Environmental Park, The Loch and Key, Shirley Burke Theatre, Wrangler Studios, Melbourne Recital Centre.


Indoor Sessions, Superstitious, Freaky People’s Lounge, Marc of Respect – Monkey Marc Charity Event, Haarp Media Sunday Styles – Juke, Haapy Mondays @ Horse Bazaar (15 events for free), Hi-Jak, Neigh-Bours (x3), Trans Melbourne Xprss (x2), Lowdown Hoedown, Permanent Press, Submersive:Subversive.

Written by Kristian Hatton.

Monkey Marc’s DIY Sound System to be used at Horse Bazaar this Friday


Hot off the presses, kids, confirmation has been given that we will be using Monkey Marc’s super awesome happy DIY sound system!

This fantastic system boasts a unique and full sound, and is carefully hand-crafted with love to bring magic to your ears! It’s also run on natural juice from the sun, i.e. solar power.

Monkey Marc and the Combat Wombats have used this system whilst trekking over the country through deserts protesting on human rights and environmental issues, so you can feel the revolution in the basstones.

Something like this is bound to make the Friday night line-up of Aoi, Ghostsoul, Titus12, Kayhat and U-Wish sound even more spectacular.

The Neigh-bours events are a collaboration between Uncomfortable Beats, L-Burn Illuminati and Haarp Media, three of Melbourne’s finest smaller beats crews. The DIY system is now a regular institute at the Neigh-bours events.

The Neigh-bours team will operate on a pay-as-you-please basis, and all donations of five-plus dollars will also recieve a chance to win a double pass to REDSQ at the Royal Melbourne Hotel on Friday 28 February, featuring Berlin techno artist Redshape.

8pm-1am. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Pay-as-you-please!

Written by Kristian Hatton.

Friday 24 January – Neigh-bours feat. Aoi @ Horse Bazaar


Our next installment of Neigh-bours is a real treat and insight into the insane store of talent fostered locally in our fair city, Melbourne. Neigh-bours is a communal friendship of local beats crews Uncomfortable Beats, L-Burn Ill – and of course – Haarp Media. We also accredit Horse Bazaar as our home for this event, as we see this place as being a place for locals – especially those within hip-hop and bass-oriented music – to network and support each other.

Headliner and L-Burn Ill affiliate Aoi is possibly Melbourne’s most unique and talented producer of instrumental hip-hop beats. Starting from punk origins playing in bands in Cairns, Aoi was drawn to original hip-hop luminaries like Public Enemy and Kool G Rap because of their raw sampling and drum patterns.

He has attempted to emulate this production by utilising a “caveman” approach in digging for old cuts of jazz drum-breaks, and combining this with a dank basement vibe. This is then interpolated with cuts of sci-fi, anime and other rare oddities within his massive record collection.

Aoi’s live performance involves little in the way of digital usage, and has him drumming his arsenal of drum-breaks and other samples in true contemporary hip-hop instrumental fashion through his array of controllers.

Supporting Aoi are trip-hop revolutionary producer Ghostsoul, UK bass music creator Titus12, and Haapy Mondays duo Kayhat and U-Wish.

Make sure you make it down, because Horse Bazaar has been popping big time lately, as exhibited here at the 397 Massive party last Saturday…


8pm-1am. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Entry by donation!

FB Page: https://www.facebook.com/events/190685147793929/?fref=ts



Also Neigh-bours isn’t Neigh-bours without our fantastic and free prize draw. Last time we gave away two tickets to Let Them Eat Cake. This time we will be drawing a double pass to REDSQ (on Friday 28 February), featuring Redshape. All you have to do is show up, donate to our event, and hopefully win!

For more on the RESQ event, read here.

Written by Kristian Hatton.

Saturday 23 November – Haarp Media, Uncomfortable Beats & L-Burn Illuminati present Neigh-Bours


Yes, it’s that time again where we join up with our good friends to bring you our very own production! This time around, we form like Voltron with our buddy crews Uncomfortable Beats and L-Burn Illuminati to bring you this one at our home bar Horse Bazaar.

Some of you might be wondering why we chose these crews and this place to work with. It definately was a gourmet selection for us.

We believe that Uncomfortable Beats are one of Melbourne’s leading crews in innovating in both local and other fresh sounds from around Australia such as Ribongia, Aneurythm and Akouo, in a way that is quintessentially Melbourne, functioning as both label and party maker.

To us, L-Burn Illuminati are Australia’s most original hip-hop group, and do something rare in hip-hop by breaking away from the status quo. They let their personalities shine and (to us) are the equivalent to an Aussie fun-time backyard Wu-Tang Clan. They too are quinessentially Melbourne. All of their music is free at Bandcamp.

Horse Bazaar is our choice for a venue because they’ve always been on the local pulse and exemplify (to us) what being a beats-based community is all about. We love the staff, food, cheap Monday drinks and good times to be had there, and they too are quintessentially Melbourne.

We at Haarp Media also like to think that we’re quintessentially Melbourne ourselves as a blog and also as a DJ click too in our support for the various factions of musical communities all across Melbourne.

And so all of us present this proudly to you as a little bit of our heart and soul. Now presenting our playas…

Merc Swazey (L-Burn Illuminati – NZ)

Latest L-Burn Illuminati member Merc Swazey combines complex rhyming sensibilities with a sense of fun in satirising #yoloswag and trap music. This is one of his first public performances in Melbourne.

Mr DNA (L-Burn Illuminati)

DNA’s smoked-out and dirty lyrical flow has steadily been improving since instigating the L-Burn Illuminati crew, and is this is heard in his latest collaboration with grimey analog boom-bap king DOS4GW on free EP Molecules.

DJ Kid Language Barrier (L-Burn Illuminati)

L-Burn trill member KLB is one of the few brave individuals who specialise in footwork/juke beats, and will also be acting DJ for Swazey and DNA.

Able 8 x Ghostsoul (Uncomfortable Beats – Live)

Able8 and Ghostsoul are singularly unique and original producers, and both share no-nonsense hip-hop instrumental styles to highlight their individual flavours. They combine their elements for this rare and live performance.

Shikung (Uncomfortable Beats)

Shikung is a DJ name synonymous with Melbourne city bass beats, having over a decade’s experience in DJing in virtually every poppin’ spot across our fair city, and leads the way in eclectic DJing of various bass music and hip-hop styles. He will shortly be celebrating ten years of DJing at iconic Brunswick Street bar – the Black Cat.

Warpa!nt (Hopskotch Records/Haapy Mondays – Live)

Warpa!nt’s production is set on the rock of garage, dubstep and hip-hop foundations, and succeeds in creating a sound that is familiar yet original in its depth and atmosphere. He released his first EP Burn City Steppa Vol.1 earlier this year on Hopskotch Records and plays as regular guest at Haarp Mondays.

U-Wish x Kayhat (Cymatic Society/Haapy Mondays)

U-Wish and Kayhat reside every Monday night at Horse Bazaar for a B2B three hour set. U-Wish’s hip-hop, glitch and dubstep/dancehall foundations blends perfectly with Kayhat’s psychedelically dark dubstep, IDM and juke track selection. U-Wish produces his own hip-hop beats and Kayhat’s popular ‘WTF is Glitch-Hop’ mix has had over 250 plays.



We are giving away two single passes to Let Them Eat Cake, Melbourne’s biggest niche electronic music festival, worth $150 each. We aren’t going to tell you what time we’re giving them away, so you’d best be there for the event in its entirety to avoid missing out. Every donating attendee will have their name put in the draw once.


Monkey Marc’s DIY sound system will turn out our sound perfectly, and we encourage you to donate to help fund the cost of running the system.

That’s about it. Come along, have fun, and also note that all attendees will be put on the guestlist for Hopskotch Records’ Unsub event at Roxanne’s (functioning for us as an after-party), meaning you can go to that party for only $10.

8pm-1am. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. By Donation!

FB Page: facebook.com/events

Written by Kristian Hatton.

Interview: Kode9 (Exclusive to Haarp Media!)


It’s impossible to talk about UK bass music in any great depth without bringing up producer, DJ, label owner, bass music pioneer and all-round good guy Kode9.

Kode9 owns label Hyperdub, widely regarded by bass music lovers worldwide as equal to labels like Warp and Cocoon, and has illuminated such artists as Burial, DJ Rashad and Zomby.

As a producer and DJ, he has led the world through 2-step, garage, dubstep, juke and other bass sounds, and his sets on RinseFM and BBC 1 with the vocal backings of mystic man Space Ape are the stuff legends are made of.

Starstruck Haarp Media guy Kristian Hatton interviewed the man himself, and discovered where Kode 9 has been, and now where he’s at…


1. What is the best way to describe your overall sound in these days and times, and how does it differ from your older sound as a producer?

I don’t know if you know that dish called bubble’n’squeak, where all the kitchen leftovers and mixed together and fried. That’s what I do now, bubble’n’squeak. Tastes great, but will probably kill you in the long run.

2. What in your words is juke music, and do you think the UK sound can influence its direction much?

Juke is a form of fast, party-centric ghetto house or US club music that evolved in Chicago from the 1990s onwards. Footwork was a style of combative dance that emerged out of that scene and has gradually developed its own, more fractured sound. Key producers are RP Boo, Traxman, Rashad and Spinn among many others.

The UK has inflected some of those producers with a bit more of a jungle sound as the tempos are pretty similar. There is a two-way flow of ideas but whether that leads to anything interesting coming from the UK is an open question right now. The jury is out.

3. What direction do you see electronic music going in the future?

I’ve recently been doing some sound installations using wearable vibration pads called Subpacs. I would love play at a rave where everyone is wearing these, not instead of having sub woofers, but as well as. I would like to see the gap between hearing sound, and feeling sound continue to narrow in this way.

4. You have been described as a DJ’s DJ. Do you see yourself as such?

Not really. But I can be quite demanding of crowds sometimes.

5. Your record label Hyperdub has released nearly 80 records. What has been the record label’s aim and how do you see this as differing from what other labels do?

It’s released around 90 singles actually (all my stuff is released with the HYP catalog number while all the other stuff is HDB) and over 20 albums. The original aim was just to release my own music, but that idea got scrapped after a year in 2005, when I released the first Burial stuff.

I think over the lifespan of the labels (10 years in 2014), we’ve developed down a few parallel tracks, so there isn’t really one sound, but rather four or five.

6. So what was it like being in London at the time the dubstep sound started taking off?

(It was) pretty funny. I saw it move from dark, dub or dancehall influenced garage from back in 1999 through to the early Fwd» nights which really were just attended by a handful of DJs and producers through to huge parties at DMZ, and then national and international exposure. It’s not often you get to witness that kind of evolution so closely.

7. What was your reaction when guys like Skrillex came on the scene and changed how dubstep was fundamentally seen?

(It) wasn’t my thing really, but in retrospect that mutation of dubstep was a blunted metal battering ram to bludgeon Americans into drugs and dance music. On that level, it was a force for good.

But by the time that sound happened, I’d kind of lost a lot of love for dubstep as a whole anyway, and by 2009 I was more influenced by the styles of house that were around in London at that moment (UK funky).

8. Are your live performances more spontaneous or rehearsed? What can we expect?

I usually know how I’m starting and how I’m ending, and the bit in the middle happens in the heat of the moment.

9. Are you excited about coming to Melbourne? Is there anything that draws you here in terms of culture, sounds or artists?

Well, the last time I was there was in 2006 when I was lecturing at Red Bull Music Academy, so I’m really looking forward to coming back after all this time.

10. What other hobbies do you have apart from music? Any other creative pursuits, reading, video.

I collect lucky and unlucky cats.

You can catch Kode9 as well as other top international electronic acts at Let Them Eat Cake 2014. For more information, visit LTEC’s website.

I’d love to give a big shout-out to Walter Juan and the Cake team for letting a little local blog play host to a huge interview. Thanks so much!

Written by Kristian Hatton.

A Haarp Media Event – Haapy Mondays @ Horse Bazaar


We have formed a residency with the good people of Horse Bazaar in Melbourne’s CBD. DJs U-Wish (aka James Harris) and Kayhat (aka Kristian Hatton) play to each others style in a complimentary and eclectic fashion B2B over four hours with one friend appearing every week.

Our friends appearing are (and not limited to) Tom Mac, China Sky, Shuttersound, Jordan and Warpa!nt. There may be improvisations, special guests and surprises in store too…

The outcomes we wish to have from this residency are as follows…

  1. A Communal Monday: We wish to have a space where people involved in the electronic and hip-hop culture of Melbourne can congregate and share resources and ideas. Feel free to approach any of our DJs with your ideas and pitches, we all have open ears.
  2. Cheap Food and Drinks: We have $15 porterhouse steak with a choice of sauces and a complimentary drink, and $6 pints, wines and basic spirits all night long. We are on par with any other Monday deals and boast more quality than most, courtesy of host Takako Enomoto and her down-to-earth Horse Bazaar team.
  3. Above Average Music and Talent: We use this event as our voice and business card to broadcast our talent to other promoters in Melbourne. All DJs play on theme to a different genre every week to celebrate our cultural diversity and promote an extended range of tunes that never grow old.

Like Haarp Media, this event is a voluntary production unless we get more people to attend our event, and give Horse Bazaar more than overhead costs.

So please come along and bring your friends, you honestly can’t lose with the student-friendly price we offer for food and drink, and also the humble and inviting DJs, staff, patrons, atmosphere and tunes on display.

6-10pm. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Free!

FB Page: https://www.facebook.com/events/165343500338807/

Written by Kristian Hatton.

EXCLUSIVE! Headlining Acts for Let Them Eat Cake 2014

Ed: So here it is, this is what you’ve all been waiting for!

This line-up is by far one of the best Melbourne ever seen. It spans across all genres and features some of the world’s best and most ground-breaking – but still underground – acts.

There are still more acts to be announced, and Haarp Media will be keeping you up to date, and having EXCLUSIVE interviews with some of the following artists.

Keep an eye out for these and other special features on LTEC 2014, and also a very awesome give-away we’ll be doing, cause we love all of Melbourne so much. You might want to keep an eye on every article. 😉

One Love, One Melbourne
Kristian “Kayhat” Hatton (director of Haarp Media)


Bicep (UK)

London based, Belfast-born blogger-production-dj duo Matt McBriar and Andy Ferguson need little by way of introduction. Their Feel My Bicep blog is the go-to place for tastemakers worldwide for lost and forgotten disco / Chicago house / Detroit techno / Italo edits and everything in between. On a production tip, they have released on such labels as Throne Of Blood, Traveller Records and Mystery Meat.

2012 saw the release of the critically acclaimed vinyl-only track ‘$tripper’ on Love Fever which hit the top chart spots on Juno and sold out worldwide. The Feel My Bicep label launched in September 2012 with the highly sought after vinyl-only release titled “Vision Of Love” which received great press worldwide and sold out whilst hitting the top spot at the retail outlets.

Room hosts at Fabric, a residency at We Love in Ibiza and bookings at Manchester’s Warehouse Project ensued, with 2012 ending very nicely for the duo who came in at 32 on the Resident Advisor End Of Year DJ Poll.

Their Stash EP released on Aus Music in April this year received great support across the board and their collaboration with Simian Mobile Disco called Sacrifice – out on Delicacies – has become one of this years festival anthems for many DJs. Forthcoming remixes for John Talabot’s label Hivern Discs are soon to drop and the second release on Feel My Bicep Records is also in the pipeline.


Cyril Hahn (CAN)

The best music is made by those who expose our very guilty pleasures with undeniable, stimulating creations. This can be said of the mere samples we have received this from rising producer Cyril Hahn.

Cyril’s remixes instantly hit a nerve with internet fans and other artists after uploading to his Soundcloud, especially the Destiny’s Child anthem Say My Name which hit #1 on HYPEM in under 2 weeks, was selected as the final track by Diplo for his BBC Radio 1 mix show, and posted as a favourite on the fan page of global trendsetting group.

The xx. Annie Mac also fell in love with the song, playing it regularly on her BBC1 radio show; at many of her DJ shows, and mentioning it in her interviews as one of her most addictive tracks of the year. Say My Name now has over 2 million plays on Soundcloud, countless tribute videos with over 2 million YouTube views, and considered by many to be a favourite of 2012.

Toward the end of 2012, Cyril released additional remixes that have become crowd favourites: a hauntingly melodious remix of UK Electropop duo Alpine’s ‘Single Chances’, the atmospheric remix of Solange’s ‘Losing You, an up-tempo, high-energy remix for US sister trio Haim’s ‘Don’t Save Me’, the addictive, sultry, remix of Jessie Ware’s ‘Sweet Talk’, and the larger-than-life remix of the young songstress Gabrielle Aplin’s ‘Please Don’t Say You Love Me’.


Digital (UK)

Stephen Carr a.k.a. Digital is one of the UK’s most well-respected and inspirational drum and bass producers with a career spanning 18 years and a seminal catalogue of original and innovative releases to date.

Digital’s 18 years of production consist of 4 LP’s and countless 12” and EP’s on his own label imprint, Function Records, and his co-owned imprint Phantom Audio, alongside some of the finest Drum n Bass labels to date; Metalheadz, Exit, Timeless, 31 Records, C.I.A, Photek Productions, Innerground, Commercial Suicide, Reinforced Records, Violence, Chronic & Hardleaders… the list goes on.

Digital also worked closely with 2 of New Zealand’s biggest electronic acts, Salmonella Dub and Concord Dawn, helping both acts to develop their European market further with tour management, tour support, European distribution and marketing.

In addition to DJ’ing throughout the UK, Europe, Japan, New Zealand and USA, Digital launched another imprint Mor’Manik in May this year – a platform to unleash and explore the diverse and experimental parameters within his sound and production.


DJ Koze (GER)

DJ Koze remains as one of the most integral musicians in dance music. Never taking the easy road, he brings an eccentric tone to a rotting formula while ingeniously keeping the soul and feeling of what proper techno/house music is meant to evoke.

His DJ sets are spoken of as fables…each experience seems to be unique to it’s own and it’s safe to say are truly, utterly mind-melting. DJ Koze’s turntablism skills from years of DJing hip-hop come out to play in his sets as he shreds the techno/house DJ formula into bits, provoking a convoluted blend of ecstatic breaks and beats that borderline the psychedelic.

The press and public love him and he’s a regular face to the year end charts: Germany’s trend-setting SPEX magazine have voted DJ Koze the DJ Of The Years for 1999 to 2006 – yes that’’s eight years back-to-back. Earlier this year DJ Koze released the critically acclaimed Amygdala album which is already touted as one of the dance releases of the year – it even received a 8.6 rating on Pitchfork (“he’s created an album that invites obsession”).

What the future holds for Koze is a mystery to all but himself, all we can hope for is that he never gives up on the paramount standards he sets for himself – an obvious reaction to the quality of output we are treated to through his music and his DJ sets.


Dusky (UK)

London based producers Alfie Granger-Howell and Nick Harriman make house music that’s inseparable from the genre’s tradition, but comes with both a widescreen ambition and a distinctly UK underground edge.

Timeless, fresh, both classic and contemporary and unmistakably theirs, Dusky’s sound is influenced by everything from deep Detroit techno and bumping UK garage to classical and avant-garde electronica. In a short time, the London based duo have rapidly marked themselves out as producers with a uniquely broad appeal.

Their diverse 2011 album – Stick By This – was celebrated by Pete Tong as one of the album’s of that year, and singles like ‘Tyto Alba’ and ‘Flo Jam’ on Dogmatik have blown up as house/garage straddling underground anthems. Hot Chip wasted no time in commissioning them to transform their ‘Night & Day’ single into a modern garage bomb.

At the same time, darker excursions into warehouse techno like ‘Calling Me’ and ‘Muriel’ – forthcoming on School – have been hammered by Paul Woolford, Maya Jane Coles, Boddika and Loefah.

As comfortable writing elegant orchestral pieces or stirring piano motifs as they are jackin’ house and techno grooves, Dusky will continue to naturally shift into new sound worlds, always united by the duo’s singular aim; to compose electronic music with depth, soul and originality.



Eprom is one of the vibrant West-Coast scene’s most colourful characters and an important cog in the international Rwina Label machine.

He’s a consummate post-millennial producer, and his sound varies from toxic hip-hop to searing garage mutations to bizarre concoctions somewhere in between. His beats jiggle and drip and contort wildly, always in some perpetual state of melting, churning and mutation.

He’s had releases on Warp, Surefire, and Bristol-based Bad Acid, but it’s his Rwina releases that have been the most visible and enduring: whether it’s the time-stretch torture and fierce melodic geysers of Humanoid or deconstructionist mayhem of his Pipe Dream EP, where dubstep and grime collide in a staggering beast that shakes off heavy blotches of radioactive fluorescent sludge with every beat that lands.

His live sets are something to behold as well, emphasizing the hip-hop roots that lurk underneath his sewer beats, and an hour of Eprom is bound to turn your brain into to the same sort of goo that gums the gears of his distinctive beats.

Fans and supporters of Eprom include Flying Lotus, ?uestlove, DJ Shadow, Rustie, The Gaslamp Killer, The Glitch Mob and BBC Radio One’s Mary Anne Hobbs, and the producer has shared the stage with many of the international electronic music community’s hottest artists.

With his last album, Metahuman, garnering critical acclaim from all corners, Eprom is finally getting the recognition he has earned as an integral part of the giant bouncing backbone of America’s West Coast.


Estère (NZ)

Estère is a girl with an MPC she likes to call Lola. She produces all her own songs with Lola, mostly at home in her pajamas.

Estère plays/records a mixture of bass, synth, drums, vocal harmonies, keyboard, whistles, claps, kazoo, desk tapping and anything else that might take her fancy, then layers her production with pulsating rhythms and evocative melodies that adhere to the genre of ‘“electric-blue witch-hop”.

Since obtaining Lola in March 2012, Estère has played a variety of live performances in cities and festivals all over New Zealand. Two songs that Estère recorded in her bedroom – ‘Cruel Charlie’ and ‘Culture Clash’ – have received extensive radio play on stations throughout New Zealand and have featured on various international blogs including Disco Naiveté and Portals.

With Lola, Estère aims to create unique music that embraces a large variety of styles and leaves people guessing (herself included) for what will be coming next…


Floating Points (UK)

Producer/DJ/musician Sam Shepherd aka Floating Points has been on the scene since his debut release in February 2009.

Sam has been a firm fixture of radio show playlists worldwide and has steadily built a back catalogue of music that can be heard gracing the sound systems of the globe’s more respectable nightclubs and warehouses.

He’s already provided guest mixes for Mary Anne Hobbs, Benji B and Gilles Peterson, and recently recorded his fourteen member strong ‘Floating Points Ensemble’ for a BBC Maida Vale session, resulting in him winning best ‘Maida Vale Session’ at Gilles Peterson’s Prestigious World Wide Awards.

Not bad for a young man who spends the majority of his time in a laboratory researching neuroscience. Classically trained in music, Mr Shepherd applies his academic knowledge with modern styles, immersing himself in the different cultures of dance music and a vinyl habit that has taken him to Chicago and Detroit simply to buy records.

As well as his impressive production style, writing and arrangement skills, Floating Points is also building a reputation as one of the world’s most exciting Dj talents, travelling the globe with his handmade E&S rotary mixer.

Be it in house, hip hop, dubstep, techno, jazz or classical, the Floating Points sound manifests itself in many forms, always deep and soulful, but with reputable bounce and heavy bass. Fans include Harmonic 313, Kode 9, Ramadanman, Geeneus, Four Tet and Radiohead.


Hypnotech (USA)

Co-owner and Content Manager of addictech.com and Addictech Records, Hypnotech has direct access to the leading artists and labels in upfront international underground electronic music. Focusing on booty warping and bass-heavy dancefloor transmissions, his dedication to cultivating the finest in electronic music is obvious in every set.

Becoming a fixture on the San Francisco underground circuit in 2000 and expanding from there to an international stage, Hypnotech has played an endless amount of clubs, outdoor festivals, and underground renegades with his hi-fidelity sound.

In 2007 the Addictech Records label was born, stepping into the ring with an incredible roster of breakbeat’s finest producers. Releasing 12” vinyl, CDs and downloads, in one year Addictech Records grew to be one of the most respected breakbeat/bass labels in the US.

The label evolved over the years and continues pushing forward with the sound, incorporating the best in glitch-hop, dubstep and IDM – with an incredible release schedule planned for the future, it appears there is no stopping this bass-worshipping juggernaut.



James Holden (UK)

1999 now seems like a very long time ago, but it was then that a 19-year-old James Holden first burst onto the UK dance music scene with his exuberant teenage trance hit ‘Horizons’.

It was his role of A&R scout, founder and tastemaker of cult label Border Community though that proved to be the perfect compliment to his flourishing DJ career back then, as breakthrough records from young artists like Nathan Fake, Extrawelt, The MFA, Fairmont and Petter found their natural home in his Border Community label alongside his own productions.

More recently, Holden has taken his first tentative steps into the live arena, first of all at the behest of Caribou’s Dan Snaith who gave Holden’s previously studio-bound modular synthesizers a live outing as part of their extended Caribou Vibration Ensemble line-up for a series of ATP shows at the end of 2011.

Eager for another taste of that collective live performance magic, Holden also seized upon the opportunity to contribute the soundtrack to Oxford mathematician and TV presenter Marcus Du Sautoy’s multimedia lecture on consciousness and the brain, performed at London’s Barbican Arts Centre and the Latitude Festival.

This spring sees Holden rise to the challenge laid down by none other than Thom Yorke, to convert those momentary studio modular synth jams into a stage performance fit for an ‘Atoms For Peace’ US support tour, joined once again by Tom Page on drums.

An astonishing seven years has now elapsed since the release of Holden’s milestone debut album The Idiots Are Winning, but June this year saw Holden finally return in a big way, with a brand-new artist album of suitably epic proportions: the 75 minute long English pagan saga The Inheritors.

When the dust finally settles after The Inheritors, and Holden gets another chance to immerse himself in the fantasy world of his beloved synthesizer collection, who knows where the next chapter of the Holden story will take us.


Julio Bashmore (UK)

It might seem counter-intuitive for a producer to detach themselves from one of the planet’s most thriving music scenes, but in the case of Julio Bashmore, that’s exactly what he did growing up in bass music hotbed, Bristol.

Julio’s first love is house music. Operating on the peripheries of the city’s scene has allowed him to quietly cultivate a take on the genre unlike any other. Perhaps indicative of Bristol’s fascination with low-frequencies, Julio began to gravitate towards the bass-indented sounds of the Dirtybird label.

After spending considerable periods of time sharpening his mixing and productions skills, Claude Von Stroke’s label tellingly signed an EP’s worth of Julio’s material for the Julio Bashmore EP. This breakthrough also meant a difficult decision: on the cusp of leaving for university Julio decided instead to remain in Bristol, and take production and DJing as his primary focus.

What happened next is the reason you’re reading this: labels, media and clubbers seemed to instantly understand the skewed angle with which Julio attacked house music in 2010. Night Slugs, Ten Thousand Yen, PTN, Dirtybird, Fabric and Soul Motive were among those who housed his productions/remixes. This list of forward-thinking labels seemed fittingly representative of Julio’s future-thinking output.

But what is it about his sonic approach that has created so much fever around the name Julio Bashmore? It’s difficult to say exactly, but bounce to blissed-out garage of ‘Footsteppin’, lose your shit to his Mosca remix, or turn out the lights for ‘Batak Groove’ and you’ll realise that it’s just simply something you feel.


Kode9 (UK)

Kode9 vibrates parts other DJs can only dream of. His DJ sets and radio shows helped spread the early dubstep sound internationally, but his sets now weave together a bass heavy mix of house, garage, dubstep, grime, footwork and hip hop.

Originally from Glasgow, but based in South London since 2000, Kode9 set up the record label Hyperdub in 2004, infamous for unleashing artists such as Burial (and countless others) on the world.

He has recorded 2 albums of his own with vocalist Spaceape; Memories of Future (2006) and Black Sun (2010) and released two DJ mix compilations: Dubstep Allstars Vol.3 (Tempa 2006) and DJ Kicks (K7 2011). Kode9 has also released tracks on Aphex Twin’s Rephlex label, and remixed Lee Scratch Perry for On U Sound, the Junior Boys for Domino, Battles for Warp, and Dabrye Feat. Doom for Ghostly.

For five years, he hosted the weekly Fwd» show on Rinse FM, London’s leading pirate radio station, and was one of the rotating DJs at DMZ and Fwd», the seminal early dubstep nights in London. He now co-hosts the Hyperdub Monthly show on Rinse FM with Scratcha DVA.

Kode9 has performed at Sonar Festival, Sonar Tokyo, Mutek, Glastonbury, Unsound, Melt and Coachella, as well are gracing clubs nights across Europe, Asia, North and South America, Australia,  New Zealand and South Africa with his unique selection skills.


LTJ Bukem (UK)

Who is LTJ Bukem? Ground breaking DJ? Inspirational musician? Record label entrepreneur? Club visionary? When the man behind those wire-rimmed glasses and that disarming smile writes his job description, just what does he put?

The man who took the drum and bass concept from a small venue off London’s Charing Cross Road to the nation’s superclubs, and then onto the international stage? The geezer whose records launched breakbeat into a brand new galaxy of sound? Or maybe he just writes ‘Renaissance man for a digital age’.

LTJ Bukem is all of the above. Although he wouldn’t like to admit it, LTJ Bukem is the living embodiment of the post-acid house entrepreneurial creative spirit. He is a mild mannered energy flash whose panoramic musical vision has found success in every area he has explored.

From running sound systems to cutting up breaks at raves, from relocating the heart of breakbeat culture to redefining the spirit of drum and bass, the man known to his friends as Danny has sat at the forefront of breakbeat evolution, lighting the way with little more than a zest for life and a love of music.

In other words, LTJ Bukem is a man on a mission.


Mark Pritchard (AUS)

There are few producers who can rightfully lay claim to having impacted the electronic and dance music scenes across decades. Mark Pritchard is one of those few.

From jungle to ambient, techno to hip hop his musical appetite and talent led to acclaimed releases on respected labels such as his own Evolution, LTJ Bukem’s Good Looking Records, Kode9’s Hyperdub and, of course, Warp Records.

Infamously, most of this work was released not just across labels but also aliases, both solo and in collaboration, leaving only the most dedicated of pre-­internet music trainspotters able to complete the puzzle.

Never one to rest on his laurels, Mark Pritchard is moving forward in the only way he knows how: making music that is varied and vital, incorporating elements of the now with the savoir-faire of his track record and a love of electronic music’s extensive palette.

Starting in June this year, his new work unfolded across a series of EPs leading to a new album on Warp Records. He is also finally ending the game once and for all by consolidating all the work under one name: his own.


Soul Clap (US)

Soul Clap time-travels on a musical spaceship of dopeness.

With their roots firmly planted in their hometown of Boston, Soul Clap went out into the world to perform at places like The Marcy Hotel, Fabric, The Electric Pickle and Bar25 and in smaller places in America, Europe, Japan, Mars and Jupiter, plus dancefloors in other galaxies that you haven´t heard of.

They blasted into space with a series of game-changing edits (including the summer 2010 anthem ‘Extravaganza’), originals (‘Action/Satisfaction’ & ‘Lonely C’) and remixes (for Laid Back, Metronomy, Little Dragon, Robert Owens, DJ Harvey and more). They joined forces with Wolf + Lamb to mix a chapter of the legendary DJ Kicks series and broke musical ground on a two-month world tour of six-plus hour DJ sets.

They always believe in sharing the knowledge by teaching college courses, doing workshops, speaking on panels and making sure to include forgotten classics in their epic DJ sets.

Coming soon is a mixed compilation for newly relaunched UK garage legend Nice ‘n Ripe records and possibly the most exciting mothership connection of all, a budding collaboration with the creator of P-Funk himself, Mr. George Clinton and his C Kunspyruhzy record label.

Always pushing new boundaries, always traveling through time and space, The Clap is on a mission to change the world one dance floor at a time.



Los Angeles native, TOKiMONSTA (Jennifer Lee), is known for her unique take on indie electronic/r&b/dance music. Her classical upbringing and eclectic music taste has allowed her to create vast textural soundscapes—a reverberation that fuses vintage sensibilities with progressive inclinations.

Her music has been recognized and praised by the very best in taste-maker and mainstream media, and she has been featured on various large-scale radio programs such as BBC Radio1 (UK), NPR (USA), BBC World Service (UK), J Wave (JP), Studio Brussels (BE), Radio Nova (FR), KCRW (LA) to name a few.

Subsequently, DJ Mag, Pitchfork, The Guardian, XLR8R, Paper, LA Times, Dazed and Confused, SPIN, Wax Poetics, MTV, VIBE, Billboard, Rolling Stone, Sound and Recording and more have covered her – LA Weekly ranked her as 2010’s #1 female DJ in Los Angeles.

Not only has she caught the ears of many for bringing a different dimension to Los Angeles-based music, but she is also notably the first female to join Flying Lotus’ crew/label Brainfeeder which is on the forefront of LA music scene.

TOKiMONSTA tours the world regularly as a live performer.


Wolf + Lamb (US)

Some wild extremes make up the whole that is Wolf + Lamb. Extrovert and introvert, vegan and carnivore, cancer survivor and social saboteur – you’d expect no partnership like this could last for long.

But for over a decade, these differences have only sparked the seismic energies that Zev and Gadi bring to dance music. They play passionate music that moves hearts, and not just feet.

From their subterranean throw-downs in their Brooklyn corner known as the Marcy Hotel, to the 2005 founding and continued expansion of their family of labels, amid the warm winters and electric environs of Miami – it’s always been about the two of them enjoying life, learning to live with each other, and making friends and fans that become part of the crew.

As music makers, the two draw as much inspiration from their label cohorts as they do from each other. From Zev’s savvy design and production, to Gadi’s talent for sniffing out path-breaking artists to bring into the fold, there’s a knack they have for making it all hold together.

And that means Wolf + Lamb is a home to the artists that thrive on its mantra: Deniz Kurtel, Nicolas Jaar, No Regular Play, Soul Clap, Voices of Black, Tanner Ross, Slow Hands, and more.

For Gadi and Zev, nothing could be better than being in this bustling world among these friends, orchestrating the sounds and sights of the moment, and always looking forward to what’s yet to come.

Original article courtesy of i like the noise it makes and edited by Haarp Media.

Image Credits (in order): Deepbeep, The Guardian, Knowledge Magazine, Xlr8r, Leighton Kelly, NZ Musician, Lucidity Festival, Mercury Server, Fabric, Time Out, Mixing.dj, Last.fm, electronicbeats.net


Friday 27 September – Repeat Offender: Robert Hood


Detroit top gun Robert Hood played last week to a sold-out crowd of 350 people, and is now up to give Melbourne a second serving of some great techno, brought under his DJ alias Floorplan.

This second seasoning will see Floorplan repping his international flavour downstairs in the Mercat Basement, through killer Funktion One cans. Supporting DJs are Chiara Kickdrum (live), Dean Benson, Darius Bassiray and Sam McEwin.

This event is brought to you courtesy of the good people at Stable Music, bringing up a great track record for international techno acts flexed in Melbourne this year.

Try to get there early in the piece to avoid rejection at the door, as this is a relatively cheap night out for an international of this caliber.

Starts 10pm. The Mercat, 456 Queen Street, Melbourne CBD. $10/15.

FB Page: https://www.facebook.com/events/214212665414447

Written by Kristian Hatton.

Thursday 26 September – Uncomfortable Beats feat. Akouo and Empty


Uncomfortable Beats continue their monthly events at Black Cat this Thursday night.

Do check out headlining Tasmanian act Aukouo, he’s got some really nice wonky, chillwave-type stuff.

Also featuring are Empty (from Western Australia), Daixie (a great local who has also played in support of Daisuke Tanabe) and Able8 (head uncomfy guy and much loved friend of ours).

As always, Uncomfortable Beats is free and easily accessable via the 112 tram on Brunswick Street. They’ll be starting up events next month at Horse Bazaar, so stay tuned for that one in October.

8pm-1pm. Black Cat, 252 Brunswick Street. Free!

Written by Kristian Hatton.

A Conversation with Morganics – Written by Kristian Hatton



Many Melbournites may not be familiar with hip-hop artist Morganics, but this guy has more history as a b-boy than many of you have been alive.

I almost missed seeing him first time, as Morgan Lewis is of average height and build, and wears fairly nondescript and unshowy clothing. Just a regular guy. We’ve met at my now-regular interview spot at Lentil As Anything, and he’s stoked at the choice of spot.

“I’ve only been in Melbourne since the end of January (2013), and have already been blown away by how much community love is shown down here. I guess that’s one of the reasons I came here.”

Of course, as all new locals do, he gets cold in the brisk early spring breeze and has to grab an extra layer of clothes from his car, and then we commence our chat over coffees.

Morganics is originally from Sydney and was residing there since the tender age of five. He hit the streets as a b-boy in 1984, embracing the art of breakdancing as his first element of hip-hop.

“I went out there busking and done routines to Michael Jackson’s Thriller. It sort of went hand in hand with acting, which I also loved.”

Morganics rattles off an impressive list of club influences of original electro tracks such as Grandmaster Flash’s ‘Scorpio’ and ‘The Message’, Def Jam Sampler 84, Herbie Hancock, Liquid Liquid (originator of the ‘White Lines’ bass riff), Jamalski, Taaj Khan (“Hip-hop is global”), Macklemore (“It was a kick seeing that guy in the mainstream”) and Sugar Hills Records Sampler vol.2 ON WAX. This, of course, impresses me.

I asked Morgan what the main difference was between clubs of yesterday and now.

“Hip-hop elements like breaking, DJing, MCing, beatboxing and even tagging the toilets were more intertwined. You couldn’t have one without the other in the clubs, and that’s where you learned to b-boy, in the actual clubs.”

Metabass N Breath

During his busking forays, Morganics befriended MCs Elf Tranzporter and Baba Israel. They honed their routines and formed Metabass n Breath, of whom also included members DJ Nic Toth and various instrumentalists later on in their live act.

They released three albums, an EP and hit single ‘Perfection’, which received regular national airplay on Triple J and Channel V, which was quite an achievement to do in pre-2000 and before widespread internet usage, social media promotion and mass music downloading.

“It was more of a struggle to get music out there. There were less people doing music then, which was a good and bad thing. It’s easier to find people you like working with, but it’s gotten very competitive these days.”

Metabass n Breath went on to tour America twice and released on Bomb Hip-Hop records before parting ways in the early 2000s.

Hip-Hop is My Passport

Morganics went on from Metabass n Breath to work teaching indigenous communities in place like Arnhem Land (Northern Territory) and The Clare Valley (South Australia) the arts of b-boying, most famously assisting The Wilcannia Mob create track ‘Down River’, which was remixed as ‘Mango Pickle Down Under’ for MIA’s album Kala.

After releasing debut solo album Invisible Forces in 2002, Morganics juggled a plethora of tasks from community work teaching b-boying in detention centres, refugee camps and youth centres, to travelling and collaborating with people all over the globe from New York to Berlin Parliament House to working with street kids in Tanzania to breaking at festivals in Rio.

Some of this process can be seen on Morganics’ one-hour accompanying documentary for his album released in 2008 Hip-Hop is my Passport, which was declared a “landmark in Australian hip-hop” by Music Forum.

During this very busy decade, Morgan also found time to combine theatre and hip-hop from the Sydney Opera House to worldwide across the UK, US and Europe in his show Crouching B-Boy, Hidden Dreadlocks, which saw him become a critically acclaimed practitioner of Australian hip-hop across the globe.

Back to the Elements in Melbourne

Now Morganics has come to Melbourne, where he is working with his old Metabass n Breath buddies Elf Tranzporter and Baba Israel on a new album, The Enemy is Within. He tells me a bit of what to expect.

“It’s music for my friends and enemies. In this one track I rap from a trady’s point of view, a guy with the southern cross tatt that he wears like a swastika. He’s got the bikie dad and is pretty racist, and then he finds out that he has Vietnamese in his family tree. Oh shit! The second verse is from the point of view of the refugee and I’m hoping this album will stand out as important in Australian hip-hop.”

While he doesn’t identify with a lot of BBQ and beers culture of “Aussie Hip-Hop”, he cites Jimblah, Delta, One Sixth, Remi and Impossible Odds as inspirational, and is very excited to find out more about our own brand of Melbourne roots and electronic culture.

Morganics has started Wednesday fortnightly events Bringing It Back to the Elements. For a run-down on this event, have a look at the event here.

His approach has been more humble and down-to-earth in a new city, as seen in his selection of hip-hop arts-loving smallish venue Horse Bazaar.

Morgan laughs, “Oh I really love that place, I’ve found it really hard to get out and explore other places as I feel so at home here.”

In terms of his current place in hip-hop, Morganics exclaims “I’m a hip-hop purist to the point I don’t think it should ever be pure, cause then it’ll lose its strength and relevance.”

He recounts a recent experience playing in the CBD.

“There’s this dude Rabi. He was straight off from his suit-and-tie work, and just came to Horse Bazaar and rocked out, he just didn’t care. That’s what I love about hip-hop, you can’t help but be moved by the music.”

Written by Kristian Hatton.

Wednesday 25 September – Bringing it back to the Elements (Hosted by Morganics)


Morganics brings his vision of hip-hop from Sydney to Melbourne, in our own cultural context of small venues and working in grass roots communal culture.

Bringing it Back to the Elements sees topics being selected by the crowd, and then these topics are taken and interpreted in traditional MCIng, as important social commentary or as hilarious comedic wordplay.

Also focus will be placed on DJing, beatboxing, breaking and even graphing through use of live digital mediums.

These events take place fortnightly on the second and fourth Wednesdays of each month at Horse Bazaar. This Wednesday features Krisdafari (formely of Northern NSW) and Lotek, as well as a bevvy of b-boys/girls and poppers in an inclusive and friendly environment.

When asked who can be down this event, Morganics replied that “anyone can be down, we’re just down with humanity and that’s it.”

Full-length Interview w/ Morganics: http://haarpmedia.tumblr.com/post/62146618224/a-conversation-with-morganics-written-by-kristian

7pm-close, Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Free!

FB Page: https://www.facebook.com/events/147433942131134/

Written by Kristian Hatton

Friday 20 September – JamCube Open Jam @ Rubix Warehouse


Rubix warehouse opens its doors to all “instrumentalists, MCs, songwriters and producers with Jammitude” for the next couple of Fridays.

The Rubix Warehouse is a branch of the Tetris Studios of Brunswick, a melting pot of art, b-boys and the freshest of beats. It’s ingrained in hip-hop tradition, and opened to the public on NYE last year. Creative expression there now has full legitimacy.

JamCube sees the warehouse getting back to its roots of supporting talent and culture.

If you have something you wish to express, head on down to the start of the event in Brunswick, where you can nominate yourself as a Jam Leader for a 15-20 minutes. You can meet and collaborate with like minds and create sounds you might not have conceived before.

Longer sets are available later in the night for those who think they have something really special going for them, message the Rubix Warehouse via their Facebook page to get in on that quick.

8pm-1am. Rubix Warehouse, 36 Phoenix Street, Brunswick. Free!

FB Page: https://www.facebook.com/events/509042102510854/?ref=2

Written by Kristian Hatton.

Thursday 19 September – Hip-Hop Thursday: Remi @ Horse Bazaar


Horse Bazaar’s directors – wife and husband Taka and Fumi – hold their own Thursday hip-hop event, which is free to the public and provides much-needed expression and voice to the body of talent ever-present in our city. There are regular poppers, lockers and b-boys/girls breaking it down on the floor, and last week featured guests mfp and Ogiyy of Beats Home.

This Thursday features special guests Remi, who are featured on Triple J unearthed and work within such groups as The Operatives and RaRaKIN.  22-year-old Melbourne lyricist Remi ‘REMi’ Kolawole exudes a unique style, rhythmic flow and an honest delivery, and is influenced by such luminaries as Black Thought, Kanye West, Drake and Slum Village. He has only been rapping for one and a half years.

Also featured are DJ Mzizk, One Sixth and Lamaroc Boogalama Luv’n Lamaloo, who will put it down for the breaks crews. Expect an inclusive and friendly night that gets it back to the elements.

Starts 8pm. Horse Bazaar, 397 Little Lonsdale Street, Melbourne CBD. Free!

FB Page: https://www.facebook.com/events/468102926621484/?ref=2

Written by Kristian Hatton.

A Letter to Dad – by Abe Ape

Dear Dad…

Nine years of illiteracy and now i can finally
write to you.
There is so much to say and it’s a cliche,
but would you believe it am on a stage right now?

Others would not understand the depth of how
much of an accomplishment this is.

Nine years ago when we first arrived in Australia,
i could say “yes, and no” and, i even got the two mixed up
most of the time.

Believe it or not am not a poet yet,
and i don’t think i will be any time soon.
From the the public spectrum it’s worrying
how i embody emotions with my writings
and even when i don’t mean it, people feel it.

Maybe i need to lighten up, say a few jokes
and keep the crowd entertained?
What good will that do, making people feel good
only to realise i didn’t tell them the truth about who i am,
and where am from?

It is hard to explain that nine years ago
we would have been on a boat heading where
there is freedom, and guess what? – a year
after you died we were granted the refugee status,
can you believe it?

I can’t because I’m waking up every morning
and thinking,
“that could have been us on those sinking boats” and
even after reaching the shores they would have surely
made sure we were treated no different from everybody else.

It is silly how they want those arriving by boats to validate
that their refugees, as if getting on a boat some half a continent
away with no assurance is for a holiday; they don’t want to

They fail to see the desperation.
This is not a play, this is LIFE.
Some of us want to live, please allow that.

Dad, i set an example for myself and i will always follow,
that if i ever lose sight of what really matters, than i don’t
deserve the freedom, let alone the speech.
Keep on reminding them that i am not a refugee,
but a lucky bastard whose young and free.

If i ever lose sight of what really matters, than my
ungratefulness is felt and that’s the great injustice.

Yours wholesome & lovingly.

Anyange Madit Nouk

For more on Abe Ape, catch his launch of ‘Humble’, a collection of poems released on 26 September at Southbank Library.

A Conversation with Abe Ape – Authored by Kristian Hatton



The man I’m going to talk to today is Abe Ape; an Australian citizen and former refugee of war-torn Sudan. He is now a spoken-word poet and hip-hop artist, and teacher of Melbourne’s communal movement Creative Rebellion Youth.

In brief, Sudan has a politically volatile history, from civil war between nationalist and religious movements, slave trading, and the consignment of child soldiers involved in rebel groups such as the Sudan People’s Liberation Movement (SPLM – between 2,500-5,000 children counted to be involved in 2004).

There was also backfall from UN council sanctions placed on Sudan in 1995, which resulted in US bombing of a chemical plant in Khartoum in South Sudan (Abe’s hometown) as part of the ongoing “war on terrorism” scandal and suspicion of Al’Quada movement in the area. The homelessness, poverty and civil war in Sudan led to hundreds of thousands of Sudan citizens to escape and seek asylum in neighbouring countries.

It’s a sunny day, although cloud occasionally obscures the sun’s healing rays. I stroll down the banks of the Yarra River approaching Abbotsford Convent. It’s a point of transistion in my own life, and I am here to discuss Abe Ape’s life. Abbotsford Convent contains Lentil as Anything, a pay-as-you-please restaurant based around charitable and communal notions of service that serve as the perfect backdrop for this interview.

After I have reached there, I find a nice spot in the sun. Abe paces to the table I sit at, recognising me immediately although we haven’t actually met before in person. He is a very tall man, nearly 7 foot in height. This height is governed by a placidity and friendly nature that makes his height more of a glad presence rather than anything intimidating.

Tools of Language and Communication

Abe tells us of his own journeys in simple movement and action, outside of elements of pathos. “We first migrated from Khartoum to Egypt before Australia. In Egypt one of our requirements for us to maintain asylum was for us to learn Arabic.”

When asked about what Egypt was like: “It was very chaotic still, so much noise. Australia is much better, more like home should be.” During this time, Abe’s father passed on. “We were facing more rejection in our attempts for asylum, and things were grim.”

“I wrote a poem for my father recently to tell him I was doing okay. We can speak to people from beyond with the power of words.”

I can relate. You can find Abe’s tribute to his father here.

Abe came to Australia in 2004 catagorised as an illiterate refugee, although already fluent in not only his native tongue but also in written and read Arabic. Abe moved to Greenwood, Melbourne, thanks to the sponsorship of current family living there, who loaned the money where they could to present Abe with a chance to live in Australia.

“I then started English classes every day, as I was catagorised as an illiterate refugee.” I found this branding of illiteracy rather bizarre, considering he was already fluent in two tongues, which is more than most Australians can say about their own literacy skills.

When asked about how hard it was for him to grasp English, he remarked, “It’s kind of complicated to put the process in words. As a natural communicator, I found it frustrating to not be able to speak to others properly. There’s nothing worse than being misunderstood.”

“I watched a lot of TV and picked up on certain manners of expression used with words that helped me understand English better and helped me think in English, although the universal expression is still half-half. And I would just write, write, write, all the time, easing in slowly.”

Communal and Musical Work

Abe works one-on-one with young people at Campbell Street, Collingwood, and helps them hone their voice and stories for spoken-word performance as hip-hop MCs. I then ask what hip-hop professionals Abe has collaborated with recently.

He points at my Uncomfortable Beats shirt. “I have collaborated with Able8 last year and do so now. He is very patient and allowed my own style of wordplay.” Abe also has been working with politically active crew Peace Palette, and is soon to perform a selection of spoken-word pieces at Studio 64 in Collingwood in aid of charity for Sudan.


“I don’t have much to say about this. I believe there’s no racism in Australia, and only that (there are) a few individuals who are weak-minded, who indulge in mindless activities which the young follow.”


“One day on a sunny day, thousands of people can go to protest. Then on a rainy day, hardly anyone will show up. Is this just a pastime to people here, or do they believe in what they do?”

“It’s about consistency and awareness of what is going on. Are you going to let your thoughts about the world guide what you do, or is it just about whatever that you feel at one time that guides you?”


It turns out Abe likes James Patterson, an American author known for criticism placed on him by Stephen King, and also as a popular writer of the Alex Cross series. it may also seem fairly obvious to some that a politically charged character from Africa like Abe found inspiration from Nelson Mandela.

“I’m amazed how he can hold such responsibility for such a large group of people, and do it without conditions or asking for anything in return.”


Future Travel and Direction

On this subject, it seems like Abe is a guy who is right in the moment. He has no answer as to what he’s got planned for the future.

When I asked him what other countries he wanted to go, he had a few things to say on the matter. It became apparent that where-ever Abe goes, “First I would learn some phrasebook language and then…”

I had to cut in, “You think that you should learn the language before you go somewhere?”

Abe shrugs and looks confused. “Of course.”


This is one of those times when I realise the essential arrogance and colonial mindset that we have, in that we go to other countries and expect to get along and that other people will speak your language, that they will adapt to you rather than the other way around.

We break our fast and conversation with a vegetarian meal, and Abe talks with others around us, and then hones in on my own direction as author for Haarp Media. It surprises me of the complexity and lack of direction I take myself when I talk of my own endeavours, and I come out of the conversation humbled and more of a sense of my own position and direction.

It’s really quite amazing that some people can have such influence on you in this respect. I can now tell first-hand how influencial he’d be to his younger students in providing them with direction and support.

We take our leave, and Abe offers me a lift, but I want to walk back near the river and recollect the conversation. Abe is still pondering why we decide to take vacations to another country overseas.

“I can’t believe that people pack their things up to move halfway across the world! We did because we had to, you do it because you want to!”

You can catch Abe Ape in a spoken-word performance at Raise It Up – A Musical Extravaganza. You can find an article on the event here.

Abe will also be launching his book ‘Humble‘ on the 26 September at Southbank Library.

Written by Kristian Hatton.

Druid Cloak – Bastion of the Sterling Thrones (Bad Taste)


Druid Cloak loves fantasy fiction and rap. His beats are played by the likes of Ryan Hemsworth and Sepalcure. He has been described as ‘elusive’ and ‘mysterious’ by a few websites, a questionable description for one who plays out on a regular basis, so only a throwaway promotional description. This is Druid Cloak’s third EP release done over the conceptual nature of higher fantasy and “organic connection.”

Bastion of the Sterling Thrones is likewise laced in concept and narrative, with the oh-so-elusive Druid Cloak pretty much detailing word for word a narrative of “a tale of rescue” and of romance as the hero fights to save his loved one from the clutches of evil. We are told precisely what is going on and this is hardly “elusive or “mysterious.”

Although as a writer, I enjoy a good yarn. But we should make up our own mind about what music is about, or at least the narrative should apply more intrinsically. While I do respect influences, we all have our own interpretation and for reviews, it’s about how messages are communicated. It’s questionable whether or not promotion can help or destroy the imaginative properties of songs. For the sake of this review, I will present the song from the artists point of view, and then I’ll give my take of it.

‘Archpriest’ introduces us to the vile nature of the story’s antagonist, the evil Archpriest. This interpretation is done through rattling jungle breaks, a smooth, bassy hip-hop roll, ‘Wooh’ voice stabs of varying pitch, male choir singing and melodic layers of synth that are more beautiful-sounding and not ike introducing any evil character. It’s monosyllabic as an overall idea and not really on par with forecasted concept.

‘Sterling Thrones’ bassy boom-bap heralds a battle between good and evil, so you’d expect it to be a full jarring clanger, right? Instead, we are treated to the same rattling jungle breaks over an arpreggiated landscape of spacious and lush beats, done tastefully and in a way that doesn’t sound conflicting. Again, not on par with concept although nice.

Final track in this trilogy – ‘The Poultice’ – is angsty and wonderful with its slow and deep boom-boom-boom-clack woven with emotional female vocals and different melodic layers. I’m not even going to bother arguing that this track is actually a happy ending where the hero is reunited with his princess, as it doesn’t apply on any level to me personally. I loved this track, but the promo again tainted it for me.

The last two tracks are remixes of ‘The Poultice’ and ‘Sterling Thrones’, performed by Tony Quattro and Timbah respectively. They are well-handled, with the former track being given a fairly even electro-breaks treatment, and the latter firing off layers of UKG-style breaky beats clad in dark synth.

The album was musically sound (although hardly ground-breaking), but that promo, grrrr. As a music journalist, are we really expected to suck up and regurgitate it in different words? I hope not, cause otherwise I’m doing it wrong.

Released 9 September 2013 digitally and in limited clear vinyl.

Pre-order here: bit.ly/17pboaw

Written by Kristian Hatton.

96wrld – Private Language (Error-Broadcast)


Have you heard much Lithuanian beats lately? Neither have I. Apparently there’s quite a scene and national pride there though. Miša Skalskis aka 96wrld has been releasing single tracks on Lithuanian label Renegades of Bump and submitting mixtapes to Mondayjazz (also Lithuanian).

96wrld now presents a whole album for your listening pleasure – Private Language – which was released on label Error Broadcast, which features such guests at other times such as Om Unit and Flako.

The overall tone of Private Language is one of multiple layers that can change in direction at any given moment. This exciting approach to trap/wonky is accentuated in the precise and warm attention 96wrld shows in all hits and synths, with each sound tailored warmly to draw and comfort rather than to jar to senses as other trap tends to do to me at times.

‘Slave’ starts the album excitedly, a bubbling, neon dirge of arpeggiating synths driven by a steady and bassy boom-bap. Private Language then settles back into a chill trap groove with ‘Eschatology’, led by rich bass and percussion with attitude, and trimmed with bubbling and soothing synths. ‘Pop Song’ is dark and minimal in 80’s-electro-meets-trap before breaking out into arpreggiation and squelch punctuated by vox sample hits scrambling through the seething chaos of unpredictable bridging break-out bars.

‘Bruce Willis’ starts with harmonious and lulling chords before dropping into an insidiously and deliciously distorted blend of discordant clicks and humming high and low synths slowly elevating in note. The result raises the hairs on the back of your arms and is available for free at XLR8R at the embedded clip below.

‘Private Language’ is personalised and more focused with Markas Palubenka’s slightly-melancholic vocals. This is complimented by detached anthropomorphic voice sample laced through bass and crumbling, loose drum hits which heighten in intensity as one of the more solid song concepts of Private Language.

‘Satta’ goes back to the more fun, trappy pace of the album, resplendent in cheeky voice stabs, warm bubbling synth and high pitched, elevating whoops, before breaking out into a bridge of spacious, brooding single chords and twanging neon synths.

All in all, Private Language has some highly original ideas, and brings wonky beats and trap finesse into a distorted, acidic and fun journey that charms and electrifies, and will retain the listeners interest from start to finish.

Scheduled for release digitally and in limited 12” on 23 September, 2013.

Release Link: http://www.error-broadcast.com/

Written by Kristian Hatton.