DHA does techno, featuring special guest Loveless

DHA does techno, featuring special guest Loveless

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Tuesday, 15 March 2016
Interviews

JP – You’ve got an interesting story, as far as your music career goes. How did you get into techno? What inspired you?

L – I loved music when I was really young. I used to like making little radio shows and mixtapes. I became really interested in goth music, industrial music. I started going to clubs. There was a crossover group of people really into going to doofs and raves. That happened and I was really excited by all that. I was into that for a few years and the raving turned into techno and I didn’t really look back.

JP – Which DJs inspired you back then, local or international?

L – There were a couple of local DJs that ran a club called Hellraiser at the Blackmarket. They used to spin all kinds of stuff, anything from Fatboy Slim to Front 242.

JP – Back when things were less formatted.

L – Even stuff today you’d classify as hard house, hard trance. A couple of them were also DJing at the bigger events, doofs like Earthcore. It was groups like Underworld, I love Underworld.

JP – They definitely crossed that line.

L – Also The Prodigy, even though I wouldn’t aspire to that sort of thing musically, they bridged the gap between a punk ethos and electronic music. I always thought they had an incredible energy.

JP – You came sort of late to deciding you wanted to play music for people in public. How did you come to that decision? What was the process?

L – The process was one of those things that is deeply personal. Experiencing music, making music, mixing music. Sometimes even just going out to events would be a big night emotionally, if it was a really good crowd, a good set. I was going to gigs in Sydney a lot and I started getting to know more and more people and I just had a knack for it, I guess. I had a hunger, and I like to know how things work.

JP – I’ve had friends who’ve gone through this experience. They’ve been going out for years, and collecting for years and then they just decide after a while, it’s like the last man standing. They might as well do it. They’re a veteran by that point, they have the taste, they have the vision. That makes it sound a little more egotistical, but do you know what I mean?

L – I do. It was more like it came from being something that satisfied me at home, to a drive. It was something I knew I could do, and I could shape it to be my own. The events that surrounded that were really more about my personal life circumstances that changed. I decided to change directions and give it a chance and I said yes to a couple of things and it really took off after that.

JP – What would be some of the highlights since you started playing?

L – There was a time when I played at the Burdekin for Charades and Something Else in the Dugout. It was packed. It was packed in the sense that people were paying attention to the set, they weren’t wandering in and out. People were going up and down with the music. That’s the most you could hope for, that feeling. I don’t put myself out there a lot, so I’ve had people suss me out online.

JP – As we did. (Laughter)

L – That’s always really lovely, or I’ll meet up with someone and they’re like, “Hey, I follow you on SoundCloud!” It’s really amazing and I didn’t know you were the same person.

JP – You played the Reeko gig at Trench a couple of weeks ago.

L – It was fantastic. I was in the side room. I had the chance to take a few more risks. My mood lately has been returning to my roots. I was able to really indulge. Play some early stuff that I love and have never tired of. I played a Front 242 track that I’ve always thought was amazing. Amphetamine by Drax. I could, so I did. I let all six minutes of it go. It was super fun.

JP – You’re known among your friends and followers for favouring the industrial side of things. What’s happening in techno lately, that it’s moving back in that direction? When I got into techno, 25 years ago, it was coming out of the Skinny Puppy and Meat Beat Manifesto and stuff like that. Is techno swinging back in a more industrial direction?

L – Definitely. I couldn’t tell you why, but it’s becoming more acceptable. There are some people I think don’t get it. I still hear a lot of … even though it might sound heavy and industrial, I still hear a lot of beauty in it. I hear a lot of depth.

JP – Atmosphere.

L – Yeah. I think it is returning to that, and it’s nice because it means that artists like Paula Temple or Helena Hauff… if you go through and listen to enough mixes from Marcel Dettmann, he’s got some of those leanings. He always slips tracks in that are a little bit electro or industrial. I dig his sets, they’re a lot of fun.

JP – What have you got coming up, something on Friday at the Bridge Hotel?

L – Yeah, I’m really pleased to be on the bill for that, it’s a new venture that’s starting. One of the promoters has a show here too.

JP – Andrew (Wowk)! Shout-out to Andrew!

L – Having said all that stuff about the industrial music, the most attention I’ve gotten is in regards to a particular mix I did that was all dub and ambient. That got their attention and they’ve asked me to come in and play that on Friday night. There’ll also be a couple of people there from the Rivet crew. Andrew and Heath as well. There’s going to be a broad spectrum, and fringe-y stuff. Breakbeat and jungle, anything could come out as long as it’s bass-heavy. And it’s free before 10pm!

JP – You can’t go wrong with that. Especially since you want to get out early in Sydney these days.

L – If you like dub techno, that’ll be me on Friday.

JP – What have you got for us today?

L – A little bit of that, but a little bit more on the industrial electro side of things. It’s all techno.

JP – We’re going to get a range from Loveless tonight. We could probably talk all night, but let’s let Loveless get into the mix. Thank you!

Check out Deep House Australia at SoundCloud.

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