Electronic musician based near Chester, UK.

INTRODUCTION

For many years we have enjoyed the music, friendship and kindness of Nigel J Moore in the DEMUS community, and the communities which pre-dated DEMUS (at a time when the internet was only beginning to emerge as an independent musicians dream). He may live thousands of miles away from many of us, but we consider him one of our strongest supporters.  The development of his work has often left us breathless, and his ability to weave strong audio tales with a diverse range of instruments has always been a trademark, and a style that I can enjoy listening to for hours on end.

Given that Nigel presents a strong element of mystery, and also deep curiosity for our members outside the UK, we decided to conduct this interview… to help bring us all closer to the man behind the music.

* I’d like to start at the beginning… what is your earliest musical memory?

My first musical input was as an 8 year old lad who was “sent” to learn the piano!!! I persevered for a few lessons but gradually the pull of playing football and stuff with my mates took over. I rather stupidly – in hindsight – ditched the lessons and have lived to regret it. I would SO love to be able to play piano/keyboards rather than what I have to do now! I never did get round to taking lessons again - and it is too late now!! Apart from that, I vividly remember listening to a good bit of classical music because that was what my dad played on the very old fashioned record player!

* Was there a specific event or realisation that led you to becoming a musician, or was it an organic process which dawned over time?

No real specific event, but I’ve always liked music a lot – at school music was one of my favourite lessons, and I did achieve some sort of qualification…..but sadly not by playing any instrument!!  From my late teens I have been able to “self learn” instruments such as acoustic guitar, mouth organ and picking out tunes with a one finger approach on keyboards!! I also learned many chords which has helped me in my recent work. So, I suppose music has more developed than “dawned” over time.

* What music has deeply moved you in the past, and how does this relate to how you choose to record your own pieces?

I have a wide range of musical taste and so there have been several genres that have had an impact. When it comes to being moved by music then it may seem a bit surprising when I tell you that Pink Floyd hold that accountability!! The simplicity of the music in terms of chords and melody (I find it really easy to pick out the chords and play several tracks of theirs on acoustic guitar) are the hallmark of a great band…..especially when the result is as stunning as some of their tracks. The lyrics on the album “The Final Cut” are amazing, moving and very poignant.

I also find work by Beethoven – especially the 5th symphony – to be full of passion and it is music that can be felt as well as heard. Similarly with Tchaikovsky’s 1812 Overture…………magnificent (especially performed live) Perhaps the most moving of all the classical work I have listened to is Elgar’s Pomp and Circumstance March no 1 (Land of Hope and Glory) not much brings a lump to my throat…………..but that sure does!!!!

More lately I have found a lot of work by Jean Michel Jarre, Mike Oldfield and a clutch of lesser known ambient bands to be moving and full of deep quality and it is maybe these that have held sway to my own music making. I can relate to the style of these people and what they are trying to get across, although I try very hard for them not to have a direct influence – I try to concentrate on being myself when creating music

* Throughout your releases, I feel there is always a strong thematic influence, and storytelling through the music development and atmosphere as pieces progress to through to each track. Is this an element of Pink Floyd which has travelled with you? Where do you find inspiration for the themes in your work? Is it planned before you begin working on an album or do you begin a track and then organically work your way through an album?

I’m pleased you picked up on the “theme” issue. The answer is that I do like to produce albums that have a definitive theme. In fact most of my work has followed this line to a varying degree of rigidity. With “In the Beginning” I tried to recreate the beginning of time – the big bang – running through to a vision of the earth by humans from orbit and space. It was my first real attempt and ended up being a “loosely” themed album. With my next album I thought I really did have a strong theme. “Beyond the Odyssey” told the story of finding the ship from 2001 (as told in 2010) interspersed with “scenes” from 2001 including finding the monolith. I used actual sounds of Apollo 13 taking off (couldn’t find any from Apollo 11 unfortunately) and used some of the theme music from the film 2001 to get the album started. Samples of HAL and others were “borrowed” for effect and I was very pleased with the final outcome. I suppose I still have quite a soft spot for this album.

With both these albums I intended to create the theme before I started work and built my tracks around the ideas – not easy but very rewarding if you can bring it off. Not sure I did with “In the Beginning”, but I like to think that I got it together quite well with “Odyssey”

Although Pink Floyd did help pioneer the “progressive” theme with their albums – The Wall in particular is a fine example – I didn’t use this as influence. I just enjoy making albums that mean something other than just X number of tracks burned onto a CD and then “think of an album name”

On Symphonic Ambience I wanted to deviate a little bit and produce at least one track that had several parts all knitted together and lasting around 15 to 20 minutes – as Mike Oldfield does/did so well. I have wanted to recreate something along the lines of the structure of Tubular Bells ever since hearing it. This was the nearest I got with the first track “Beach Life” I should have persevered and maybe try again as I did with the previous theme albums, but never did.

* What are the fundamental instruments and tools that you use to make music with? The diversity of instrumentation in all your work is very apparent, and I’m really curious how you generate such a wide variety of sounds!

As I have mentioned earlier, I am not a trained musician and muddle through with a degree of ability to pick out melodies and chords etc. I use this “one fingered” approach and the chord playing to create and build the area of all of my tracks that use VST’s.

I have a separate dedicated music computer running Cubase SX2 – I have been using this for a good few years now (never seen the need to upgrade Cubase) – and this also hosts my quite fulsome library of soft synths. I have a very expensive Roland keyboard which is way too big to fit the “studio” in comfort. It has a massive amount of sound banks that I can’t really use via midi. I just use it as a (expensive!!!) midi keyboard to activate the soft synths via Cubase. I also have a vast vault of samples that I have built up over the years and am not ashamed to admit that I use a fair amount in my work. Drum samples are the most obvious. I used to try and make my own but this was such a laborious job that I now always use drum loops. The quality and vast number available make for a better sound in my opinion. That is not to say that I don’t alter and affect them, I do, quite extensively, but the drum loops available now are so professional. I am continually scouring the net and shops etc looking to build on my already large base.

I really enjoy using soft synths though. The sounds you can manipulate with the “knobs and switches” for each sound are endless. I also use some samples in melody lines and in particular, intros and outro’s. Because I have been using samples in varying degrees over the years, I am now really experienced at changing the sounds by cutting, shaping, changing pitch and BPM as well as adding different effects to suit the sound I am looking for. This is an art form in itself!!

I also use vocal samples for some of my work - if I feel the track needs it – and I spend a lot of time searching for the sample that best enhances the theme of my track.

* How important has the internet been to you in terms of finding listeners and finding musical inspiration? Do you see the birth of freely available musical content online as a miracle or a curse?  I remember the good old days when we met online, and we have been artistic comrades ever since… and ever since then there has always been an underlying debate in the community with respect to if the internet has either devalued music (as an instant entertainment source) or actually made music better by allowing more artists to release material. Obviously you very much prefer the album format for your work, and I am curious if this relates to you generally preferring to enjoy music in the context of an album, rather than singular pieces (which seems to sadly be the modern way with services like iTunes etc.).

Ah, the internet and music…………such an oft discussed topic!! My personal view is that the opportunity that the internet provides to get otherwise unknown musicians into people’s homes is priceless. Many unheard of bands or solo musicians would never have had the opportunity to get their work heard by anyone outside their immediate circle of family and friends.

Sites like MP3.com – which was a major player and responsible for the start of internet based music – and Soundclick and others along with a plethora of smaller groups and the communities such as DEMUS (not forgetting the others that preceded it) would not exist without the internet. There must now be a huge list of internet music communities and sites that are showcasing some excellent music that would never otherwise have been heard.

Not so sure the “big boys” of the music industry would concur though!!! Whilst the one man computer music producer and small local bands are not a problem, it is the inevitable rise of illegal downloading and peer2peer sites that have stuck in the throats of these people. There are varying views on this and there will always be discussions and rights and wrongs from both sides of the question. I try to keep everything legal and don’t really get involved with the details of the discussions!!

Personally, as for the importance of the internet to me as a music maker; it indeed has had an influence. Not in the way of making sales as such (although I have been successful in a very small way with a few album sales), more in the way of making new friends and being able to share experiences and music between like-minded people. I enjoy music making as a hobby and if anyone likes what I produce then these are the reasons why I do it. And it is sites like DEMUS that are an excellent conduit for these experiences and have to be praised for helping to bring together – and keep together – new acts and new music.

And regarding my preference for album or singular pieces – well, I have always looked to produce albums mainly due to my previously stated liking for working on a theme. I do enjoy making individual pieces though, but these are mainly remixes that I do from time to time whenever someone is running a remix challenge.

* As a lot of your music is thematic and driven by concepts, it is also often in my opinion very well suited to soundtrack style work, which supports a visual story. What kind of films and images have inspired you while recording your work? What are some of your favourite films or pieces of art?

I do like to think of my music as being suitable for soundtrack. One of my artistic ambitions that is as yet unfulfilled is to have a piece of mine used as a soundtrack to a film, TV or radio program. It would be awesome to hear your own music being played this way with thousands, maybe even millions of people hearing it!! The icing on the cake though would be for some of those thousands/millions to say – wow, that music is brilliant………….who wrote that?

Hehehe – we can dream can’t we?

Going back to the thematic point – The only album to be inspired by a movie is “Beyond the Odyssey” and that one was actually inspired by TWO movies!! – 2001 and 2010. The others have been devised around a couple of ideas that I have had and expanded upon.

Interestingly, the last album….”In the Shadow of Fear” was brought together and developed along the “Fear” theme just by stumbling upon the opening sample of the first track “Nightmare” The one that has the guy breathing heavy as though he is afraid of something or anticipating something bad happening. I then thought about pursuing this idea of fear and wrote the album around that. I had to spend some time hunting for vox samples though that fitted what I was trying to achieve…….the vox samples in “Arachnophobia” for instance features samples from the film  of the same  name. Once found the vox samples are easy to incorporate…..the difficult area is trying to get the notion of whatever the theme is into the music so that it is not just another track with a few vox samples and given a name that represents fear – or whatever the theme is. I try to reproduce the theme with the music structure. Tracks like “Demons Within” in particular capture the sense of fear in the music……….Well, I can see it, but whether other listeners can is the vital point and the yardstick as to whether you have successfully got the theme across.

I mentioned that I had a few artistic ambitions one of which was to write a piece for a film etc – my other main ambitions concern music and writing!! Another one was to produce a music album and actually sell copies to unknown fans….which I have achieved!! Aso, as I used to be very much into amateur dramatics – both acting and directing, I had always wanted to write a play and have it performed in front of a paying audience. This too was achieved some time ago and it is a good feeling to be able to say I wanted to do that………..and now I have!!!

As for my favourite films……….mmm a tricky one!! I’m not an avid film fan but do like to watch some when I can. Up there amongst the best for me are films such as “The Bourne” trilogy and quite a few science fiction classics. 2001 still stands the test of time for me, but I also like many modern releases too. “Sunshine” was very good and it is stuff like this that I can relate to. I love the computer generated graphics and stuff that you see nowadays – brilliant. And for art, Vermeer and Dali always appeal to me along with one or two others. Not being too actively interested in art I am quite selective in what I like and dislike!

* Finally, What does the future have in store – musically and for you in general?

I have thoroughly enjoyed my attempts at making electronic music and have loved the camaraderie I have struck up with lots of great people – but I do think though that I am now at a cross roads in my musical “career”. I am almost 62 years old and have been an avid writer since I first started making electronic music at the very late starting age of around 49.

But, there is a very much more serious and very sad event that has shaped my life recently.

I lost my dear wife in March of this year at the tender age of 59. We had been together for 42 years and married for what would have been 40 of those years this year.

This is why I have been an infrequent visitor to the DEMUS site since then. I have tried to contribute a little to the forums but my heart just isn’t in it.

As things stand now – 6 months on – it does look like the remix I did for Ben (CMyth) will probably be my final musical contribution. I have not opened my music computer in nearly 9 months, apart from finishing the remix I promised for Ben, and I have not really had any urge to do so.

Time, as they say, is a great healer, but for now I am trying to get myself back onto some sort of even keel – I still feel like “I’m on the outside looking in”

But whatever I do I will not lose contact with the fantastic guys at DEMUS and others I have “met” along the way. I feel I have benefitted an awful lot from my long association with like-minded and talented people and that is something that I don’t want to give up.

A sad way to end this enjoyable interview, but I felt that my friends “down under” should know why I have not been as active on DEMUS recently and why there has not been any more music from me.

I so wish it could have been different

The most recent release by Nigel is his wonderful remix for Cassandra’s Myth called DEAD LOCK (NJM), available on a CD titled ONGOING MAINTENANCE. We hope to provide a download location for this CD shortly, and also make it available as hard copy. Other work by Nigel J Moore is available at www.soundclick.com/nigeljmoore and for purchase at http://dawnindustry.com/shop

As a dear friend, we wish Nigel all the best and will be staying in contact in the hope that in time to come… more music shall flow from this fine example of a friend, artist and colleague.

EN-ZINE 1 OUT NOW! – Available for free at Peril Underground, Missing Link Records and Blue Velvet.

Every now and then we are planning to print and distribute a free A5 mini-zine full of stories, information, ads and news about all kinds of underground happenings in Melbourne. We invite musicians, artists, writers, event organisers, labels and all manner of people to contribute content! As a small experiment in street-press we need your help!

HOW TO CONTRIBUTE

Please contact us and prepare to supply us either plain text and images (we will layout the content), or preferably, supply us an A5 size PDF file. The zine is printed in full colour.

We hope to release EN-ZINE 2 around October 2010 so please get your content in soon!

For the first time ever, our irregular Enzyme event is going to be part of the Melbourne Fringe Festival!

This is probably our biggest live music venture yet, and we are really looking forward to giving Melbourne and its Arts community a diverse music experience from Noise and Experimental through to Electronica and Dark Hip Hop.

TICKETS ARE NOW ON SALE:

ONLINE:
At the Melbourne Fringe Website HERE.

or…

DROP IN TO THE FRINGE TICKET CENTRE IN QV:
Open Wednesday 8 Sept through to Saturday 9 Oct, midday-6.00pm for cash or credit card sales, information on shows and friendly advice all right in the heart of the CBD. You can find the Ticket Centre on Artemis Lane in QV, just of Russell Street.

or…

ON THE DOOR:
Just turn up at the venue and purchase tickets on the spot.  Note however that as Blue Velvet is a small and intimate venue we can not guarantee the number of tickets available. Make sure you take some cash as some Melbourne Fringe venues will not have credit card facilities. Don’t forget to bring your print-at-home ticket with you – and avoid queues at the Fringe Hub box offices.  If you can’t print your own then arrive early – and don’t forget to bring the credit card you purchased your tickets with.

LIVE UNDERGROUND MUSIC & AUDIOVISUAL SHOWCASE

SATURDAY 2ND OCTOBER 2010 AT BLUE VELVET FROM 5PM – 11PM

EXPERIMENTAL NOISE INDUSTRIAL ELECTRONICA AVANTE GARDE DARK HIP HOP DARK AMBIENT

FEATURING:
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Alternate Parallel Reality (QLD)
http://www.alternateparallelreality.com/

Alternate Parallel Reality is the musical identity of Sean Cooper, an independent musician renowned not only for exquisite production and drum sampling, but also for being instrumental (excuse the pun) in forming relationships with musicians through his Zeitgeist Records project back in 2000. As a core of the underground community, he has run record labels, performed for and sponsored events in Japan, all the while producing a wide range of music for numerous projects. Now based in south-east Queensland, he is not affiliated with any with any record label or other commercial interest. The music itself falls under the loose category of “electronica” (which is a profoundly unhelpful genre description) with touches of “breaks” and “drum and bass”, often “psychedelic”, sometimes “ambient” and with a vaguely “industrial” flavour a lot of the time.

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BasticH
http://www.myspace.com/bastichmusic

Bastich is an industrial noise metal act from Melbourne. Formed in 2002 by Duncan Little it began as a solo experimental electronic act, with sounds ranging from ambient to the intense. Inspiration was drawn from the experimental work of artists such as Merzbow, John Zorn, Bill Laswell and Mike Patton, as well as drawing from more orthodox industrial styles. The first recording “Welcome” was released in downloadable form on mp3.com.au. Solo live performance began in 2003 and the project rapidly evolved into an aggressive power noise style, later infused into the next release “Transmute”. From late 2006 live guitar and vocals were included, reflecting the increasing influence of metal/rock on song writing. During this period, the album “Nemesis” was written and recorded where a more structured approach was taken, and in 2009 the first performances as a three piece began featuring Ivan Bullock of Mystral Tide and Ben Smith of Cassandra’s Myth. Now with the release of the demo ‘Decimator’ and moves to a new four piece live line up featuring the talents of Brett Lambden of Sarcophony, Justin Godden of Sizter Thing and Ivan Bullock of Minorarc, the industrial noise metal sound has been well and truly cemented.

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Cassandra’s Myth
http://www.cassandrasmyth.com/

Named after the ill-fated prophetess, Cassandra’s Myth is one of the foremost dark electronic groups to have come out of Melbourne’s thriving underground experimental electronic music scene.

Although it was ultimately the brainchild of the now solo artist Ben Smith, Cassandra’s Myth was begun in the early 90s as a five-piece project by a group of teenage friends. They quickly established a collection of devoted fans by mixing conventional 80s pub rock with darker industrial undertones. Dreamy rhythm guitar, strengthened by keyboards would give way to psychedelic guitar solos that bordered on glam rock. Throughout each track, strong bass-lines danced with pub infused drum beats to sustain this eclectic mix of musical genres at a relentless pace. Throughout the late 90s the band would play many iconic locales throughout Melbourne, consistently receiving positive feedback from its peers and fans and releasing the album Niroth Hinth in 1999.

By the early 2000s it was becoming clear that the group was moving in different directions. In 2002 they went their separate ways and Ben went on with Cassandra’s Myth as a solo project. From here, Cassandra’s Myth moved from strength to strength, abandoning many of the earlier influences of bands such as Smashing Pumpkins and the Sisters of Mercy and instead producing sounds more in keeping with Ben’s taste for dark electronica. Drawing on influences, such as Skinny Puppy, Nine Inch Nails, Gary Numan and Depeche Mode, he created the Album Attics in 2004 – an album that mixes romantic sentiment with industrial frustrations.

In 2003 Cassandra’s Myth joined the boutique net label Zeitgeist Records. That was how the serendipitous meeting of Ben of Cassandra’s Myth, Ivan of Mystral Tide/Minorarc and Duncan of Bastich took place. Very soon these like-minded individuals got together in a clumpy mess of hair and cables and started playing Cassandra’s Myth live gigs.

In 2009 Cassandra’s Myth released its best work yet, Maintenance. Drawing on contributions from members of DEMUS and other solo musicians, the album fuses industrial angst, metallic synths and philosophical whimsy seamlessly, and Ben’s passion for industrial rhythms mixes with groovy bass-lines, powerful drumbeats and psychedelic rhythm guitar. The album has been highly praised by his fans and musical peers and is a testament to Cassandra’s Myth’s potential for the future.

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Chiron
http://www.myspace.com/chironband

With deep roots in dark wave, Chiron entered the new millennium fresh with new ideas and music far deeper and more diverse than before.

The transformation began with the meeting of lead singer Michael Aliani and DJ/producer Robert Anthony. Since then Chiron has fused the sounds of trip hop, electronica, EBM and all forms of trance music. As a two piece electronic act, Chiron composes truly original music with an intense feeling of emotion and urgency.

Live, Chiron has played at some of Australia’s premiere music events. From large festivals to small intimate gatherings, Chiron continues to push the endless boundaries. As a live act Chiron are interested in one thing, getting an audience involved and on the dance floor. It is at these events, at an ungodly hour that Chiron is most at home playing their unique style of music. During the last decade they have released albums with Energeia Records Italy, Apollyon Records Germany and Indented Records Australia.

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Dark Organics
http://www.myspace.com/darkorganics
http://www.inkbombstudios.com/

Dark Organics is the surreal musical vehicle for Melbourne based Illustrator Bryan Itch, inspired by a diverse pool of styles, the compositions draw influence from Progressive rock, Dubstep, Breakcore & Classical movements. Previously seen frightening moon units at Maitreya & Renaissance Festivals with waves of aural love.

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The Digital Assassin
http://soundcloud.com/scottybtheda/the-digital-assassin-mix

Scotty B, or “The Digital Assassin” is by no means a newcomer to to the music scene. With humble beginnings producing two albums and travelling for live shows in Australia with Australian Hip Hop crew “Blades” or formerly “Blades Of Hades”, he has accomplished many things in his 12 years of production, including short films, animation, TV and full length film scores, documentaries and sport.

Most recently, has been involved with many artists around the globe completing an album from his studio in Melbourne called “Visual Thru Sound” or VTS Crew. The Digital Assassin is an instrumental hip hop, drum n bass and dubstep explosion, and his live set has been honed and modified to suit many crowds. For a free mix and download, head to the link above!

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Horopter

Horopter is a Melbourne based audio/visual project that combines Post-Industrial Noise and Creepshow ambience. The Visual backdrop is used to enhance the thematic nature of the audio material, conjuring vivid illustrations of the tortured journey of the human psyche. Fear, Anger, Guilt and Despair with moments of Triumph, Tranquility and Hope.

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Dj Infectious Unease
http://www.infectiousuneaseradio.com/

The notorious underground DJ Infectious Unease has been presenting Infectious Unease Radio and DJing at clubs since 1992. A member of Noir Corps, Demus, Dark Stereo (label) and Enzyme (live music events), who has recently released a 4 disc 62 band compilation with his label Infectious Unease Production. He is also a self published performance writer who has released such books as the 1997 The Cadaver Restaurant- A Menu Of Short Stories And Poems, The Deception Of Latex That Causes The Deepest Remark 2003, The Poet’s Eye 2005, Severed Eye 2010, Work On Cd Reflective Return Spoken Word By Gordon Taylor Music By Ernie.O 2003. A DJ who loves to explore a plethora of sound and explode it out on the air waves and clubs. DJ Infectious Unease has no fear of delivering a sound of surprise. You just never know what he will seduce, tantalise and drive all your five senses into. With these events he will be assaulting your senses with the sound of Trip Hop, Dubstep, Breakbeats, Drum and Bass, Electronic and hard edge Industrial.

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Manticle and Doll Disorganation

Seeing Manticle and Doll Disorganation perform live is an experience guaranteed to disrupt your regular bowel movements while conjuring a pre-pubescent sense of unease. Subharmonic rumblings, rhythmic pounding, metallic shavings and scrapings and disintegrating toys are threaded together with an angelic harmony. Sometimes evoke the sounds of the factory floor, other times disturbing distant, childhood memories, this ambient death machine industrial act will soothe your soul while removing the hairs from your lungs one by one.

Manticle played as one of the supports for Australia’s premier Cold Meat Industry Festival (Melbourne 2006) and was subsequently featured on the CMI produced DVD, released in 2007. Manticle and Doll Disorganation have performed regularly at Enzyme events and as supports for Psych Carni and feature on several compilations including No Sense Makes Sense and Demus Compiled I and II. Manticle has also contributed to Silk Milk II, Infectious Unease, Vol I and Night Terror Recordings. They intend on releasing full length albums really, really soon but are easily distracted.

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Rotteur
http://www.myspace.com/rotteur

“Out of the flesh of our mothers come dreams and memories of the Gods.” – Austin osman spare

Rotteur has been an ongoing project since first inception in 2000. Initially a studio-based melange of noise and industrial influences, it has developed to encompass live performance, focusing primarily on the domain of dark ambient. Sometimes abrasive, sometimes meditative, Rotteur makes cold, desolate soundscapes, haunted by droning machinery and sparse abstracted electronics. It’s intention is to explore the deepest abysses and undercurrents of the psyche; to dissolve all illusions. A hymn to the sub-terrain of emptiness, isolation and decay inherent in modern civilisation.

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Sarcophony
http://www.myspace.com/sarcophony

Sarcophony is the music of Melbourne producer Brett Lambden. Coming from a writing and poetry background, Brett began experimenting with an analogue four track recorder and a single guitar in 2003 as a backdrop for his poetry. He combined the sounds of these sessions with tones and layers created with Cool Edit software on an old PC. Before too long he had moved into a purely digital recording environment and a collection of songs recorded with a PC, one guitar, an 80′s keyboard, and a borrowed bass, was released as the album Devour in 2004.

Reviews praised the albums mixture of brutal guitar, electronics and melody. Buoyed by this initial success, Brett headed back into the studio for the 2007 album This Venom. The equipment used was much the same other than a new left-handed bass was purchased so Brett wouldn’t have to play all the bass parts upside down again. This Venom, while still having its brutal moments, is a much more melodic release which has received airplay on Melbourne radio stations PBS FM, Joy FM and Inner FM. The homemade video for the title track has also been played several times on ABC TV’s Rage. An album of remixes of tracks from This Venom titled TV Is Bad For You was released in 2008 and contains contributions from artists involved in the international Dark Electronic Music Underground Site (DEMUS).

In 2009 Brett dropped the CD format and released the third Sarcophony album Violence as a free MP3 download. A darker and more complex release than the first two albums, Violence explores the intricacies and absurdities of human relationships with equal parts anger and bemusement. For this release the old keyboard was retired and software synthesisers were introduced into the Sarcophony sound. The electric guitar is still front and centre but the album also covers acoustic territory and exploresvpurely instrumental tracks.

2010 sees the birth of the Sarcophony band, with a couple of Brett’s friends lending their skills to bringing the songs to the live arena.

‘I think I’ve approached this whole band thing backwards,’ Brett says. ‘On the plus side I’ve got three albums worth of material to choose from.’

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theunsoundproject

theunsoundproject [Richard Pilkington] has been creating electronic music since 1997, and is currently undertaking a Bachelor of Fine Arts with a focus on Sound. Richard has performed live under various pseudonyms and has had work featured in the 2008 SFX Radio festival, Seoul, Korea. Richard produces a wide variety of sonic experiences for his audiences, and theunsoundproject delivers a live vocal over influences such as Industrial Music, Hip Hop, Experimental Sound Scapes, as well as the varying philosophies that resonate in his brain. Richard is happy to respond to emails sent to r.c.pilkington<at>gmail.com and is a long term member / supporter of the Demus community.

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The Enzyme concept thrives off the support of a number of non-profit entities including DEMUS a friendly online society of musicians, DARK STEREO a distribution platform and online store and INFECTIOUS UNEASE RADIO who has been exposing underground talent on community radio for over 15 years.

For several years, our online underground music shop Dark Stereo has been a primary tool for musicians to sell and distribute their CD’s and propaganda online.

Now, in 2010 we are taking the next step forward through a new store called the Dawn Industry Shop. Rather than only promoting music, this new shop allows us to expand and stock a huge range of underground oddities from CD, DVD and music, through to artworks, prints, jewellery, books, files, stickers, T Shirts, event tickets and anything else which is hand made, non-mass produced and underground in nature.

If you are an artist interested in contributing stock to the store, contact us and we will explain the process to get your goodies online!

Facebook Event Listing here.

We are pleased to present the full details of the upcoming underground music Enzyme Event!

UNDERGROUND MUSIC EXTRAVAGANZA, and LIVE INDUSTRIAL SPECIAL NIGHT UPSTAIRS.

Friday 27th August 2010 at Blue Velvet 60 Smith St Collingwood from 8pm – midnight.

$5 with flyer $8 general admission

FEATURING:

SARCOPHONY
http://www.myspace.com/sarcophony
At last the time has arrived… the debut live performance from one of our favorite local industrial / electro / metal acts! Melbourne producer Brett is finally going to let rip and shred the floor with his special blend of intelligent cynicism and bullet-proof song writing. We have waited years for this night to come…. at last!!!

COLD DIVIDE
http://www.colddivide.com/
Industrial metal and electronics at its finest. If you haven’t heard the Cold Divide “Grand Manipulations” EP yet… then you are missing out on something really special. In fact, the EP was so damn good we have been stalking this local band ever since. Technical, complex, and sharp as a knife… Cold Divide never cease to blow us away, and we are very proud to have them as part of this Enzyme.

DJ INFECTIOUS UNEASE
http://www.infectiousuneaseradio.com/
18 years on local radio promoting underground music from around the world… what more is there to say? This guy is a local legend, and you can be sure that his sets will always hold a side dish of unexpected, and a main course of music from a massive range of genres! His commitment to music is legendary, and his passion unquestionable.

+ DOWNSTAIRS, BENE GESSERIT PRESENTS…

Tactile Response Group
Young Romantix
Mandark
Hate Channel
Roussemoff + Shane Reynolds

We hope to share more info with you about these artists very soon! A little mystery is a wonderful thing. For the un-initiated… Bene Gesserit House Nurseries has been running wonderful local gigs all around Melbourne for quite some time… and really pushes the boundaries in both performance art, and extreme music… in fact more extreme than extreme… and far beyond what we could possibly describe through the use of genre names. Lets put it this way… Bene Gesserit is an institution for subversive, and TRUE underground music that you won’t hear anywhere else.