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Five of Australia’s leading sound artists interpret the idea of remix for radio.

• Lloyd Barrett remixes dreams, nightmares and talkback radio
• Lucas Darklord remixes the culture of Black Metal
• Buttress O’Kneel remixes her favourite remixers, including Negativland, John Oswald and Coldcut
• Rik Rue remixes his own history of remixing
• Shannon O’Neill remixes all of the above.

Radio Metamix was broadcast on ABC Radio National’s The Night Air on July 1, 2007, as part of the Liquid Architecture festival.

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After her triumphant “core” series was wrapped up with the invention of “corecore”, Buttress was determined to be the first to go beyond it.  So, while others were still trying to come to terms with the concepts behind “corecore”, she created the mind-bending new genre “post-corecore”.  Not only does this album apply the tools and strategies developed in the “core” trilogy to works by artists such as Yes, Rihanna, Madonna, and the B-52’s, but it again extends the “core” genre with the inclusion of heart-breaking MOR ballads, stretched noisescapes, drone-based live material, and her infamous Windows-cracking track that was used to close the documentary “Steal this Film II”.  Interwebmegalink-approved.

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The final in her “core” trilogy, “CoreCore” again revels in the grunting syncopation of breakcore, but mixes it with an altogether softer touch.  As well as the classic Public-Enemy-meets-the-Seinfeld-theme opening track, O’Kneel incorporates several of her more psychedelic-drone live tracks (created with a CDJ and a buncha guitar pedals).  Although, there’s still plenty of filthy breakcore (including the cookie-monster-metal-mashup “C is For Satan”), this final in the “core” trilogy sees her wrapping up the series with a focus on what breakcore can become, rather than what it already is.  Interwebmegalink-approved.

Selections from Anthologies 2 & 3

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These selections represent a sample of individual works, experiments and never-to-be finished pieces produced between 2005 and 2007. Some pieces mark the beginnings of failed projects or redundant tangents, whilst others came to be for unknown reasons. All compositions are intended for most appropriate use in managerial meeting rooms, excecutive boardrooms, vaults, darkness, at volume and with influence. It is advised that this composition be played in all work places both before and after work each day. This music is without genre and is Dark Corporate Techno, Dark Grinding Corporate Ambience, Dark Corporate Art Core and 21st Century All Family Punk. As such it is intended for consumption by all, and so it should be. Music for Everyone. If you listen, you’ll hear that Lucas Darklord is pleased that you are.

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The pieces on this album were created using a specially designed system code-named “Habitat”.  Autonomous artificial agents feed on live and prepared sound and vision, excreting their own mutated variations which are then collected and presented for listener edification.  The process is the culmination of combined research by Paul and Lloyd in the construction of a live electro-acoustic audiovisual engine that draws from both academic and underground practices. All material presented was originally generated live and has been edited only to remove fatty excesses.

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Buttress O’Kneel initiates an independent inquiry into what it means to have ‘Australian values’, when the hystory of the country is based squarely on invasion, genocide, abusing the needy, institutionalised racism, and lies. This is the album Australia needs to have, but is too scared to listen to.

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These are the sounds received from our first interdimensional probe, Asmoir. This probe is exploring unknown and unheard somewheres, elsewheres. Whilst much of the data received from the probe is proving to be, for the time being, nonsensical, auditory recordings are proving to be of interest. It is not known if these recordings are accurate representations of the ‘sound’ in these locations.

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Lloyd Barrett has spent the last 5 years working on a suitable sound for this project – with the only official release being a “cover” of the Coil track “Spastiche” on the Balance tribute album “the loneliest link in a very strange chain”. While retaining the sidereal nature of Coil, SKON has become inextricably linked to guitar worship. Channelling nocturnal emissions from spirit landscapes both internal and extraterrestrial this however is no G3 style tech hysteria. Lloyd’s guitar “gods” include Justin Broadrick, Snakefinger, Sunn O))), James Plotkin and Birchville Cat Motel.

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Liebeslieder is Ivan Lisyak.

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Ivan Lisyak’s ‘beats’ record.

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