Hijak Special Bios #2 – Kayhat

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

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


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




HMS002 – Kayhat

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Originally mixed by Kayhat on June 2014 as part of the Haarp Media Sessions.

This particular DJ adventure sees a focused Kayhat doing what he does best – subverting genre and not playing by the rules.

HM002 will captivate through realms of breezy progressive techno, before blasting a woozey, bassy midsection with punchy drops and archaic sections of raw electronica, then reverting to inspirational melodic tech/house tunes.

The objective of this mix is to create an overall journey and take the listener to the many different emotive places electronic music can provide these days.

Haarp Media Sessions 001 – Kayhat

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Originally mixed by Kayhat on June 2014 at Black Cat – Fitzroy.

This eclectic set aims to deride conventional genre focus and sound by delving through non-genre specific acts in electronica, with occasional mash-ups and signature sounds thrown in.

Those who know Kayhat will be familiar with his unpredictability of selection and tempo.



1. Darkside – Freak, Go Home
2. Tilman Ehrhorn – Park
3. Adultnapper and Jordan Lieb – Hypochrondiac
4. Giyo – Bitter Sweet
5. Talking Heads – Psycho Killer (Felix the DJ Rmx)
6. Amin Payne – Benson Interlude
7. Burial – Endorphin (Real Cosby Rmx)
8. Sterna Tarnyt – Dips on Breek
9. Mormo – Fonich
10. Miss Little – The Overflow (Ribongia Rmx)
11. Metope – Night Rider (feat. Undo)
12. Jahcoozi – Watching You (Two Fingers Rmx)
13. Svreca – Jade (Skirt Remix)
14. Undo – Motas De Polvo (Fairmont Rmx)
15. Bjork – All Is Full Of Love (Sailax Sun Spots Bootleg)
16. Aoki Takamasa – Ascari (Dry Condition)
17. Four Tet – A Joy (Remix)
18. Kerrier District – Disco Nasty
19. Lodsb – Usedom
20. Nihiti – Ghosts and Lovers (Mark Verbos Sordid Future Mix)
21. DML – Nymphenburg
22. Woozy Tribe – Locked Up
23. Beaner – Epilogue
24. Juno6 – Chain
25. Defunkt Dialekt – Lux Morte
26. Manni Dee – This Is Original


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

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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

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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!

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Written by Kristian Hatton.

Melbourne DJ Moment #603 – Kayhat @ Fitzroy Beer Garden

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People are clearly dancing and enjoying themselves. There’s around 70+ people out here. Group of people standing right next to the speaker on a Friday night in Fitzroy.

*Person from group comes over and asks me to turn the music down.

Me: “Er, maybe you can go talk somewhere away from the speaker? I can see how it might be kind of loud for you.”

Him: “But I know the manager…”

Me: “Okay, go tell the manager and I’ll turn it down. I have to play music for people who are dancing and having a good time, so maybe they should be being a bit less rambunctious, you think?”

Him: “That’s a bit passive aggressive, I’m just asking for you to turn it down a bit, I mean, c’mon.”

Me: “Thanks for your feedback, I really do appreciate what you have to say, but I have to satisfy the venue’s format and requirements.”

Him: “If you don’t turn it down, I’ll have to ask the manager to have it turned down. You get paid to do this, right?”

Me: “You go do that. I have to mix a track now, I’m sorry.”

*Guy freezes, looks at me, looks at people dancing, goes back and stands with his group, doesn’t go find manager.


See, it’s these kind of knobs who move into a cool place and then expect the environment to suit exactly what they want to do, then they go and tell people about they moved to Melbourne for the culture, DJs and live music.

It says to me something about our general white history and tells me colonialism is alive and well, except we’re now the natives being invaded (by people from where, exactly? Mars?). I wish we could scalp these people or jam a spear through their thigh, to be honest.

Oh and everyone else had fun, except one guy who got a bit too pissed and embarrassed himself in front of his hot girlfriend. I kinda felt for him.

Written by Kristian Hatton.

Friday 23 May – DJs Kayhat + Andre Le Vogue @ Fitzroy Beer Gardens

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(Warning To Reader: Yes, this is a blatant self-promotion and doesn’t pretend at being anything else. But hey, am I not a part of this scene too?!)

Hello all.

I’ll be playing with my friend Andre Le Vogue of Scarlett Vogue Productions coming up towards the end of May and want to get you guys down to check out this venue.

Le Vogue and his partner Scarlett Minx have been holding up things on the techno and deep house front in Melbourne for a very long time, and are an understated yet (in my mind) integral part of the Melbourne electronic music community.

They deserve props for what they do, and it’s my pleasure to be playing alongside Andre at his very excellent night for my second time as a DJ. His Friday and Saturday residencies never lack for good guests, and I consider it a nod to be amongst those who play here.

The Fitzroy Beer Garden is up on the corner of Smith and Gertrude streets in Fitzroy and is a lovely low-key way to spend a Friday/Saturday night. There’s an open air area out the back where the DJs are and they have another bar. You can smoke out there, order your food, and get a place to sit with your friends at a picnic bench.

I hope some of you guys (esp friends, I’m looking at you, Northside Lowkey click) can come down and hang out, maybe have a bit of a shuffle, get tipsy, eat some nice food, catch up with other friends, get home without terribly injuring yourself, etc. 


8pm-1am. The Fitzroy Beer Gardens, 243-245 Gertrude Street, Fitzroy. Free!

Click here for Facebook event page


Written by Kristian Hatton.

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

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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

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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.