The initial intent here was a full length album of tracks I have been working on since lockdown, however with the end of the year fast approaching I did not want to go another year without releasing some music into the wild so I pieced together this 5 track EP based off of the strongest and most complete tunes I had completed. In the end I am actually really quite happy and proud of these songs and ll have been received quite warmly.
During the height of the COVID pandemic, the other mutants and I decided to channel that time into something creative. We wanted to produce a physical compilation, something different from anything we’d done before. After a lot of collaboration among everyone involved, we managed to get this 6-track vinyl pressed and released.
The performances on this release are exceptional, showcasing the talents of all the contributors. The artwork, done by Mykel, features everyone’s eyes and ears—can you tell who’s who?
Inverted Clouds was originally intended to be a full-length album, but it ended up becoming something different. These three tracks were written and recorded around the time my daughter was born, and I sat on them for quite a while before realizing they stood on their own as an EP. Newer material just didn’t quite fit with these tracks, and in many ways, this EP feels like a closing chapter to the work I began with the Ambiveil project.
“7 Year Itch” is still one of my favorite and most delicate compositions, while “Inverted Clouds” stands out as one of my most polished tracks. “Bloem,” on the other hand, is a spacious ambient piece that hints at the direction I was headed in creatively for the future.
In 2014, I set off on an adventure to the Netherlands, but things didn’t unfold as planned. Over the course of ten months, I drifted from place to place. Some felt like home, others were brief stopovers, and a few turned into harrowing experiences. By the end of it, I was more than ready to return.
This album is my attempt to capture the emotions and atmospheres from that time. It begins with the romanticised early days in Boeringwetering, followed by the challenges of starting a gallery and workspace at 331west. From there, I spent time renovating an old farmstead in Vorden, faced the unsettling experience of being detained in Belfast, worked on a horse therapy farm in Krachtighuizen, and even spent nights sleeping in parks like Oosterpark. Finally my journey took me to an international sharehouse on Van Der Pekstraat, each place adding its own chapter to the story.
Upon my return in early 2015, I reworked the concepts and ideas I had gathered during this time into the album. It covers a lot of ground, and while it’s lengthy, it’s best experienced in sequence. Unlike some of my previous work, such as Three Moons, these tracks can also stand on their own.
Three Moons is, in many ways, a concept album. It reflects a period of three and a half months in my life marked by upheaval and uncertainty. During that time, I had countless ideas and emotions swirling around, but much like my state of mind then, I couldn’t separate them into neatly defined tracks. The result is a two-hour epic that pulls in many directions.
At its core, it’s an ambient album, but there are moments of discomfort and sections that demand an open mind to grasp what I was trying to convey. It’s an incredibly personal piece, and while I’m proud to have it in my collection, I know it’s not for everyone. The album feels like a journey through the complexities of that period—at times serene, at times uneasy—capturing the irresolution I lived through.
Written and roughly mixed during autumn 2010 – autumn 2011.
I have intentionally not over worked these tracks in post-production, essentially they are the original session with a few minor tweaks here and there. I wanted to keep them slightly raw so as to keep their original emotion and feel.
All tracks written Summer 2007 – Autumn 2009
Mixed and Mastered Winter 2009
For my Little Elke + The Cats
A collection that spans both the light and dark spectrum, starting from finding out about bubs (jack in the box), through to the complete destruction of my relationship (cranky), and everywhere in between…
This piece came together from samples of [a.i], Moon June Spoon, Moumou, and Titania mashed up across 8 channels, with 8 variants on each and 8 effect channels—up to 32 samples per channel. I was experimenting with randomization using Ableton, cycling through samples on varying follow times, with the follow set to “any” or “other.”
I played with different sample lengths. Most channels followed a set pattern, but some were rigged to “reset” the random loops, while others were set to stop altogether. I hit record, let it run for an hour while I made dinner, and then sat down afterward to listen and edit it for the first time.
The editing process was hands-on, and my controller definitely got a workout. The end result is this rather strange, experimental piece.
Live recording on “Affected” (2NUR FM) for our annual pilgrimage to the church of the subgenius…
As the title implies, this release was very much a “first draft”—a raw, experimental attempt at something new. It marked the first time I had truly ventured into a generative approach to music creation.
It might not have the broadest appeal, but it was an important step in my creative process. I have long been captivated by the idea of using random generation to shape soundscapes, and this early experiment, sparked something in me that I would refine in later works, such as Reset and the SLAMboree sessions.
At its core, this project revolved around a simple concept: eight samples, each with eight variations, distributed across eight frequency-filtered channels. These elements were randomly combined to form an evolving atmospheric base, a sonic canvas on which I would later build more structured tracks. It was a space to explore, to play with the unpredictability of sound, and to see where the generative process could take me.
This album was the culmination of several months of rehearsals following our initial performance at the This is Not Art (TINA) festival. We were gearing up for a major gig at Peats Ridge over the New Year, and the music we were creating was a true reflection of the connection we had developed as collaborators. It felt like the sessions we had poured into this project had solidified something unique that we were happy to show the world.
This album, more so I feel than any other Veil release carried a sense of cohesion and flow that really captured our evolving sound. It wasn’t just a random set of tracks; it was a cohesive reflection of the creative bond we’d built over months of practice. Each song flowed naturally into the next, forming a deliberate and complete sonic journey.
Two songs, in particular, Inertia and Halfway Up Brown St became staples in our live sets, consistently drawing attention and resonating with the audience. These tracks would often be in the setlist of our upcoming performances.
Meanwhile, other tracks, like Kettle and July Electric, began to evolve in different ways. Though they started as part of this collaborative project, we each took them into our solo work, refining and reshaping them to suit our individual styles, becoming more polished in those versions.
By this stage, Dale (Throbgoblin) and I had played countless gigs where we’d follow one another on the lineup, each delivering our individual sets. But this particular performance marked the first time we decided to truly collaborate on stage—a “versus” set, with a spontaneous jam session thrown in the middle just to keep things interesting. It was an unplanned experiment that would end up shaping our musical journey in ways we hadn’t anticipated.
The performance took place at the This is Not Art (TINA) festival, where we were booked as the final act on the opening night. The atmosphere was electric, and the crowd’s energy fed into the improvisational spirit of the set. That night, something clicked. There was a chemistry between us—an organic, raw energy—that we both felt immediately. We realised this format had potential far beyond just one festival performance.
We enjoyed it so much that we made a decision right then and there: this was something worth pursuing. As such, Veil was born, and for the better part of the next seven years, Veil became our primary focus, taking priority over our solo projects. What started as an experiment evolved into a full-blown creative partnership.
Over those years, Veil performed at numerous festivals along the east coast, including Subsonic, Peats Ridge Festival, and, of course, multiple TINA performances.
Take two musicians, put them in a room, and have them jam through headphones—except neither can hear what the other is playing. We had to rely entirely on visual cues to sync up, a challenging concept that led to some unexpected results. Andrew and I sifted through the raw recordings afterward, pulling out the parts we thought worked (or at least made sense), which became the tracks you hear today.
The piece was created using a mix of synths and drum machines, written, recorded, and edited all in one evening. The next day, we headed to the coffee house to listen to the results for the first time.
Artist: phreaddee
Format: Live recording CD
Release: Limited release
1. Pink / No Tools (intro)
2. Midlight
3. Enjoy the Contour
4. interlude
5. Apache and the Apprentice Chef
6. First Hand Destruction
The genesis of this album was marred by adversity—a complete hard drive failure wiped out 80% of the work in progress, leaving only “Moosebuzz,” “Tinklebell,” and “Simple” intact. The remaining tracks vanished into the digital abyss, lost forever.
Despite this setback, I persisted, with “Tabula Rasa” emerging as the first of the new tracks to surface from the ashes of the disaster.
This album holds a deeply personal significance for me, as it features collaborations with my dearly beloved and cherished friend, Pete, who is sadly no longer with us. Our creativity together infused the project with a special energy that resonates throughout.
The album’s title, inspired by a Henry Rollins spoken word piece I admired, encapsulates a sense of renewal and fresh beginnings. These tracks, some of my most refined work at the time, filled me with pride despite the obstacles encountered during their creation.
Glass Rain and Dreaming of Lounges (part III) were co-written with Pete Bayliss
Tinklebell was co-written with Pete Bayliss and Scott Kirkaldy
If ‘Piles of Granite and Gold’ represents my ethereal moments during the summer of 2001/02, then ‘in/out’ is its turbulent counterpart. The tumultuous aftermath of a relationship breakup serves as the driving force behind this release, reflected in its anguished tone and even some rather melancholic vocals.
The tracks on this release predominantly inhabit the experimental realm and delve into more personal themes, leading to a decision for a limited release initially. However, with time, I opted to make them available on digital platforms.
Artist: oniKa
Format: CD
Release: limited release
Little did we know at the time that this 2-track 40m live noodling would be our last output together.
My first venture into crafting a full-length album began in the spring and summer of 2001, with each track emerging from individual sessions as embryonic concepts reflecting the direction I envisioned for my music. These sessions didn’t yield completed tracks but rather served as foundational ideas awaiting development.
In January 2002, I dedicated two weeks to fleshing out and arranging these tracks, bouncing them down sequentially to form the album. Each day’s work built upon the settings marked before bedtime, ensuring a continuous flow between tracks.
The inspiration for this album was drawn from the immersive experience of the TINA festival in 2001, particularly our “century 21” party that spanned an impressive 276 hours. This event left a lasting impression on my creative process, influencing the direction of the album.
Despite initial apprehension, the album’s release was met with positive reception, prompting a second run. Many of the tracks gained traction in subsequent gigs, with “Swirlybird” and “Dirty :: Pretty” becoming regular features in my sets.
After immersing ourselves in the electrifying atmosphere of the TINA festival in 2001 for nearly a week, Steve Blanch, also known as base Electro(n), and I found ourselves in the courtyard of Space10 on an early Sunday morning. Fuelled by a cocktail of sleep deprivation and adrenaline, we embarked on a sonic journey to explore the realms of twisted and distorted acid sounds.
In the haze of exhaustion, our minds teetered on the brink of delirium, yet our creative instincts remained sharp. Despite the fatigue, there was an undeniable chemistry between us as we allowed our intuition and muscle memory to guide our hands on the equipment.
Remarkably, the resulting piece exceeded our expectations. It captured a moment in time, encapsulating the raw energy and spontaneity of that early Sunday morning session. It was a manifestation of creativity born from the depths of exhaustion and fuelled by the exhilaration of the festival experience.
Drawing inspiration from Nine Inch Nails’ releases like “Broken > Fixed” and “The Downward Spiral > Further Down The Spiral,” we set out with the original intention of creating a remix album. However, as we delved deeper into the process, it became increasingly evident that these new versions of our tracks weren’t just improvements—they had evolved into something altogether different, something that felt like the definitive expression of our vision.
The decision to release these versions as the standard representation of our tunes was not taken lightly. Yet, the unanimous agreement among us was that these iterations captured the essence of our music in ways we hadn’t imagined possible.
The timing of the release was strategic, coinciding with our performance at Sensory II. Almost all copies of the album were snapped up on the night, a testament to the resonance these tracks had with our audience and the impact they made in the live setting.
I revisited Ambient Industrialisation with a fresh perspective, aiming for a refined and enhanced version of my previous work. After careful consideration, I decided to remove some of the weaker tracks and replace them with newer, more polished tunes that better aligned with my artistic vision.
What remained underwent a process of remixing and reworking, breathing new life into familiar compositions. The end result was a collection that resonated deeply with me, standing out as one of my personal favourites to this day.
Subsequently, I made the decision to release the album on digital platforms, ensuring that my music could reach a wider audience and continue to resonate with listeners long into the future.
Piano and Arrangements on Piece for Piano and Strings by Paul Smith
Guitar on A Month of Sundays by Anthony Morris
Saxophone on A Month of Sundays by Hayley Crotty
Following the triumph of the Sensory 1 event and the revitalisation of the electronic scene in Newcastle, a collaboration between Pendulum Tapes and Breve emerged. This partnership tapped into the growing interest in electronic music, which, though largely underground, had been steadily developing since the early 90s.
With momentum building and online platforms facilitating greater connectivity, it became easier to engage with fellow “bedroom musicians” within the community. Our initial call for submissions garnered an overwhelming response, compelling us to sift through numerous tracks to curate a cohesive compilation for a CD release.
The primary aim of this compilation was twofold: firstly, to showcase a diverse array of music that often flew under the radar, and secondly, to shine a spotlight on the burgeoning music scene in Newcastle. We sought to convey that the city harbored a vibrant and dynamic music culture, every bit as fresh and innovative as anything produced on the global stage.
* Also Breve artists
In January 2001, after months of meticulous preparation, Breve was primed to host its inaugural large-scale event. Held at the renowned space10 warehouse on Wood St, Newcastle West, “Sensory 1” marked the beginning of an exciting chapter for us.
The event proved to be a resounding success, doubling as oniKa’s debut live performance. To commemorate the occasion, we crafted a 5-track EP to distribute to the crowd during our set.
However, it’s worth noting that none of these tracks were in their final form. They were raw, unpolished creations, and the CDs we handed out likely remain the sole copies of these early versions. Despite their imperfections, they served as a testament to our journey, capturing the essence of our fledgling musical endeavours.
As Iain and I delved deeper into crafting tracks for oniKa, we stumbled upon a few compositions that deviated from our usual style. These pieces took on a more experimental and softer tone, featuring chilled and delicate melodies that resonated more with my own creative sensibilities than with Iain’s.
Feeling compelled to explore this newfound direction, I made the decision to release a trial run of 25 copies featuring these tracks. To my surprise, the response was overwhelmingly positive, with listeners connecting deeply with the subtle nuances and atmospheric vibes of the music.
And thus, out of this unexpected resonance, the phreaddee project was born. It marked a departure from our usual sonic palette, allowing me to delve into a more introspective and emotive space within my musical journey.
Piano and Arrangements on Piece for Piano and Strings by Paul Smith
Our first proper release marked a significant milestone for us. Still navigating the realm of music production without having ventured into the party scene, we continued to tinker with ideas using whatever cheap or free software we could lay our hands on, along with the trusty but limited sounds of general MIDI.
This release brimmed with creativity and experimentation, showcasing a diverse array of genre stylings. However, in hindsight, we could admit that the execution fell a bit short of our aspirations.
One afternoon, we huddled at our friend’s house to mix the album, cobbling together our collective vision into a cohesive whole. Once satisfied with the result, we took the plunge and got a pressing of 100 CDs made, complete with cover art based on Iain’s own creations.
Initial sales were sluggish, but through perseverance and word of mouth, we managed to move the majority of the run. These songs, imperfect as they were, laid the groundwork for the oniKa experience: a fusion of high-energy, industrial, progressive trance, and dancefloor tunes that would come to define our sound.
Shortly after the album’s release, fuelled by our newfound confidence, we joined forces with our friend Simon, who had lent his expertise to the mixing process, and another companion from TAFE, Michael. Together, we laid the foundation for what would eventually blossom into Breve Electronica.
In August 1999, the seeds of oniKa were sown by myself and Iain Dowling. Drawing inspiration from the hardstyle sounds of Bloody Fist Records– also from our hometown, Newcastle, as well as the trance and techno beats we had been immersing ourselves in, we embarked on a journey to craft our own distinctive musical style.
Our tools were humble, to say the least. A PlayStation loaded with Music 2000, a Pentium computer running DDclip and Hammerhead, alongside the trusty old Windows recorder, formed the backbone of our creative arsenal. Accompanying these were a dual tape deck and a Casiotone 2-octave keyboard, each contributing its unique flavour to our sonic experiments.
As we transitioned from the rigours of the Higher School Certificate (HSC) into a whirlwind of 18th birthday parties and summer gatherings, we dedicated ourselves to the task of piecing together a 5-track tape to share with our circle of friends.
The initial response was a mixed bag, with some offering words of encouragement while others remained indifferent. Yet, buoyed by the support of those who saw potential in our work, we resolved to press on, undeterred by the challenges that lay ahead.
Unfortunately I don’t think there is any copies of this still around, certainly none that have been digitised.
