unreliable gossip stuff. bah.
"What I love tonight I probably will hate tomorrow morning."
(Allan Klinbail, aka Son Of Zev, interviewed in de-VICE mag in 2007).
“Let the machines do the work, that's what I say.”
(Si Begg in an e-mail to Andrez Bergen straight after remixing the Little Nobody track, We Call It Crack House, in 2007).
"We're not here for the art. We're here for the free drinks."
(Andrez Bergen, aka Little Nobody, to a bamboozled Inpress journalist after the chaotic, ramshackle, & somewhat quixotic inaugural LN Elektronische Ensemble live performance at the Punters Club in Melbourne in 1999).
"I never know what the others are going to do or who is making what sound, or what is going to come up next... I don't think they do either."
(Damian Stephens after that same LNEE gig, above).
"Never had so many changes of ideas in a remix before the final version. Crazy Muddy Waters mindset.”
(Paul Birken, aka Tonewrecker, in the midst of remixing Robota in 2009).
"Take the last century of music and put it in a blender."
(Damian Stephens, aka Isnod, about his own music in the liner notes of the Reaction Hero remix compilation CD in 2001).
“Nearly done with the remix for Andrez… never had so many changes of ideas in a remix before the final version. Crazy Muddy Waters mindset.”
(Paul Birken on his Twitter site in 2009, while remixing Little Nobody's Robota).
"(It) sounds like a dead dog being flogged on a corrugated iron fence."
(Aghast British commercial dance music magazine, Mixmag, in its review of the Melbourne-made Zeitgeist 2 compilation in 1996).
"I’m fiercely proud of this city. People in Melbourne expect diversity in the arts. The city is completely overrun with it, and it has been for decades. It’s what Melbourne is renowned for."
(Paul Deron, aka Enclave, in an interview with Beatportal in 2008).
"Damian's inadvertently broken records and electrocuted himself, I've busted a couple of crossfaders and snapped the tendons in my ankle jumping off stage, Marcella hobbled around with crutches and a broken toe, Allan's early anti-compressionist phase deafened all of us with samples snatched from my interviews with Luke Vibert and inane Furby talk, and I'm sure our livers have almost packed it in."
(Andrez Bergen about the LN Elektronische live performances in Melbourne and Sydney between 1999 and 2001, in the liner notes of Reaction Hero).
“Robo*Brazileira is my singing alias, a fictitious Brazilian robot. For me, the robot is one view-point with which to see ourselves, as humans. To see us cautiously, I think I must have external eyes.”
(Toshiyuki Yasuda on his vocal side project for Robota and with Señor Coconut, for Beatportal in 2008).
"(It's) the soundtrack to the fall of the current Roman empire."
(Damian Stephens, aka Isnod, about his own music in an interview with de-VICE magazine in 2007).
"Isao Tomita is Taitei God.”
(The anonymous Japanese producer behind Jungle Taitei, in an interview with Beatportal in 2009).
"(It took) absolute bloody persistence—this guy, Andrez, was playing the best electronic music I'd ever heard, so I hassled him with a bunch of wordy e-mails, but clinched it with music I burned to CD."
(Allan Klinbail, aka Son Of Zev, interviewed in de-VICE mag in 2007, on how he joined the IF? posse 10 years earlier).
"My first brush with the label was in a Stange Studios toilet at Global Village—an IF? sticker. I thought 'Damn, I've got to get one of those stickers for my record box'. That sticker is still on my crate 11 years later."
(Jeff Willis, aka Kandyman and one half of DJ Fodder, talking in 2007 about his first glimpse of IF?).
"Harden the fuck up and grow a mustache."
(Damian Stephens' advice to all DJs in an interview with de-VICE magazine in 2007).
(Dave Tarrida, when asked to describe his remix of Cocaine Speaking in an interview for Beatportal in 2008).
"Andrez convinced me to do a remix for his album over a few hundred drinks. I also saw him break the fly on his pants on a night out. You're kind of friends for life after a night like that."
(Tim Colman, aka Kid Calmdown and one half of The Alcoiids, on his association with IF? for a de-VICE mag story in 2007).
"I’m aiming at people who like to be naughty!"
(Shin Nishimura discussing his remix of Little Nobody's Poiseworks with Beatportal in 2009).
"This is awesome. Actually this would have to be close to being my fave track of yours. Love the big Phil Collins industrial snare and that stab after the snare roll, love the beat, kinda rock/hip-hop. The vox are SICK. It reminds me of, especially when he repeats "Robota", a UR track, umm..............you know and the vocals are "I am black, electric. I am strong, electric"?? I've got the track on a cd up stairs but I cant be arsed getting it. I'll find it and let ya know. ANYWAY. The track rocks IMO. It needs releasing!"
(Ben Mill, aka Bitch Shift and Chairman Of The Board, in the best review/response to his music Andrez has ever received—in this case an e-mail referring to the Little Nobody track Robota straight after it was finished in September 2008).
“I find that most people who are anti-download fall into two camps: Greedy people who think it makes the music easier to share, therefore will cut back on their profits—do you want people to hear your music? Or make money?—and the elitist types who liked the fact that they were one of only 800 people who had that rare Juan Atkins release on Metroplex, and enjoyed being part of a select ‘club’ of other anal types, and hate the idea that now just about anyone can download those rare tracks for a quid or so.”
(Si Begg on the digital download phenomenon, in an interview with Andrez for Fun in the Murky in 2008).
“In my opinion, the Japanese cannot sing like James Brown, and we’re poor at using the body—but we like to imagine. The sequencer gave us the means to express that imagination through music. And we make techno music like we draw manga!”
(Yuki Ota, aka Japanese cut-up and broken piano musician Alone Together, in an interview for Fun in the Murky in 2008).