Dan Fallon

1. Introduction
2. Skater interlude 1
3. Alek’s theme
4. Skater interlude 2
5. Luke’s theme
6. Skater interlude 3
7. Amy’s theme
8. Skater interlude 4
9. Ice Insekts

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.

1. Mk.I.01
2. Mk.I.02
3. Mk.I.03
4. Mk.I.04
5. Mk.I.05
6. Mk.I.06

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.

1. Inertia
2. Summer Prelude
3. Halfway up Brown St
4. Dirty Trucks
5. Nebula
6. Kettle
7. July Electric

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.

1. Tuatha Dub
2. Catch
3. Titania
4. Subterranean
5. Germinate
6. Moosebuzz