LPs, EPs and Singles
Embedded Files
Two decades of music production
(163 released recordings)
Having worked in the Australian music scene as a performer. writer and live engineer since the '80s, producing records was a logical progression.
I have committed to the development of emerging and mid-career artists in this realm. The outcome has been rewarding for us all, not only for the critically acclaimed and award winning releases, but for the lifelong friendships.
After relocating from my premises in Perth in 2016, I now lean towards recording in front of audiences.
Having played rock, punk, jazz, country, electronic, classical and experimental music for four decades, there's barely an approach I haven't considered.
Let's make a record!
Radarmaker: Aristocracy and the Horse (5-track EP, 2005)
Perth was in a post-rock boom in the mid-2000s and Radarmaker was one of it's beacons.
Adam, Warwick, Wendi and Noah were - and still are - extraordinary artists. They're not what some might consider to be advanced musicians, though with their potent vision and intimate connection, nothing else seems to matter.
None of us had ever set out to make a 'real' record before, but they trusted me to deliver this baby. Making this was life affirming.
Moments of shoe-gazing are happily distracted by beatific events in the sky.
Radarmaker: Drawn Like Spires (13-track LP, 2006)
While the previous EP generally floats in dreams and clouds, this LP comes down to earth on occasion. The band are exploring all measures of space and time, often delving into more standard structures and tones.
With their well-earned confidence on stage, they dove headfirst into instrument swapping, which gives this album a broad sonic palette.
There's a heap of goodness here, though I recommend you check out Shallow Socialites Battle The Axe and their coup de grâce, Sashegyi.
Corner House Jazz Band: Live at the Jazz Cellar (12-tracks LP, 2006)
In my early days as a musician, my drum teacher dropped me in the deep end of a 40-piece big band, where I learned the responsibility of propping up a group. We tackled movie themes, orchestral pieces and various forms of jazz.
When the opportunity arose to record a dozen Dixieland ditties, I was thrilled.
I'm seeking an audio link to the record. Meanwhile, here's a promo video for the accompanying documentary on the Jazz Cellar in Perth, which was built from the ground up specifically for the band to play in.
Mitey Ko: Devastated, Frustrated (7-track LP, 2007)
While undertaking my first course in Audio Production in 2007, this record was to profoundly affect my artistic arc. I had just begun Blac Blocs with Allan Boyd, who fronted this 'best kept secret' of the Perth indie scene. Not only did it feature Adem Kerimofski (of Turnstyle fame) on drums - with whom I'd go on to co-found the marvellous Community Chest - it included lauded WASO cellist, Kevin Gillam. This was an thrill for me, as I hadn't seen Kevin for 20 years, when he was my high school music teacher!
This record also marks the first time I solely mixed a record I'd engineered. These three men inspired me to reach for excellence. Smash the State is my recommendation for you.
Injured Ninja: Circuitboard (5-track EP, 2008)
Unbeknown to me, word had got around town that I could put a thing or two together. I suspect the band were enamoured with the idea of recording at a studio with a Japanese-themed name.
But this project seemed more like I was being initiated into their own little cult, forced to kneel at the alter as I consumed their sacraments.
Puppies in Fishtanks seems like a good place for you to start.
Blac Blocs: Blac Blocs (7-track LP, 2008)
My best mate and constant musical collaborator since high school, Dion Leeuwenburg, invited me to a loose jam with two scraggly ne'er-do-wells, Allan Boyd and Ray Grenfell.
We hit it off immediately and within a year we had this record under our belts.
There's threads reminiscent of Boys Next Door, Future of the Left and Midnight Oil, with its spoken-word meets strung-out melodies and forward thrusting rhythms.
It only took 21 years for Dion and I to release our first record!
Injured Ninja: IDDQD (Double A-side single, 2009)
Oh me, oh my! This was my second project with the band and they absolutely nailed it!!
Just check out that album art for starters. The attention to the graphic detail is a true representation of what these fellas accomplished. Not only did they create a densely packed epic, they produced their own mind-blowing video.
Mastered at Abbey Road Studios for the 12'' release and by William Bowden (King Willy Sound) for the digital release.
French Rockets: 1x1 (Double A-side single, 2009)
This is the alternate side of the 12" release with Injured Ninja, who were kind enough to bring the 'Frockets' over to my South Perth abode.
I'm a lover of '70s Krautrockers Neu and Kraftwerk, so working on this tickled me in ways I'd never felt before.
Brilliantly, they also had an equally epic music video.
Airport City Shuffle: It's Not That Late (8-track LP, 2009)
By now, Simon Sieradzki had whittled this longstanding band down to a solo project, commandeering a whole range of instruments including the drums, which I never knew he could play.
This is a tender and introspective record, though the title track develops a great sense of hope and inclusion in its final act. I'm still overwhelmed with this feeling a decade or more on from its release.
Cute band name too!
Blac Blocs: Mandala (10-track LP, 2010)
The band wasn't really taken seriously in its early years, as we hadn't hit our stride on the live scene. That is, until this release. Three years of hard slog secured some great supports and we were nailing the tunes to the production.
Meanwhile, Richard and Helena Eames were completing a stunning stop-animation clip for the focal single off the first record. Non-Violence (aka NVDA) pipped Injured Ninja at the WAMi Awards to close out a fantastic 2010 for me.
Opener Young is a force of nature and is my recommendation for a listen.
Zeks: Z•K (4-track EP, 2011)
Ray from Blac Blocs roped me into this side project. We travelled down to his deceased uncle's estate at the outskirts of Margaret River, WA, to record these angular and experimental post-punk grooves. It wasn't the most pleasant experience, as a cult had inhereted the property and forced us to sleep outdoors on the mosquito infested porch.
But we got through it all to add another notch to our belts.
Mishima might just be my favourite here.
The Community Chest: Top of the Hour (12-track LP, 2013)
I've been fortunate to be involved in some great projects over the years, though this one stands shoulder to shoulder with my favourites.
Adem, Dee, Laurie, Pete and I were like a family and it resulted in this deeply heartfelt collection of tunes, mostly written by Adem and brought in to our newly gestating group.
We took New Wave elements of The Cars, Gary Numan and Sparks, drove past 1960s Who and Kinks households, to a slacker-central house party with Pavement, Sebadoh and The Rentals, to create something very much identifiable as The Community Chest.
FroHawk: First Flight (4-track EP, 2013)
A quarter of a century after Dion and I met, we explored our love of electronic music.
We like to call this 'Organic Electro', as we took a technological approach to traditional acoustic and electric instruments (20th Century guitars, drums, keyboards) by processing them heavily and going hard with cutting and pasting.
There's whiffs of Flaming Lips, Radiohead, Beastie Boys and The Cure thrown into the pot.
Thanks for a great experience, D... I love you mate!
The Community Chest: Make Your Decision Now and Live With It Forever (4-track EP, 2015)
Having made our mark on the Perth scene, we'd evolved our songwriting toward a more democratic process (even though Adem brought in the seed of most songs). There's a looser feel and structure because of it.
Keyboardist extraordinaire Peter Yuncken brought in the fine tune All The Time, which he allowed us to add dramatic drums and harmonies.
This was my final release with the band, as I was preparing to relocate to Melbourne.
Instant Pecule is a sentimental favourite of mine and I'm glad it's the closing track.
TBC: Electric Spanish (9-track LP, 2016)
This record is my swan song to Perth, where SHOGUN STUDIOS began.
I was at the tail end of a Bachelor of Audio Production. Running ahead of schedule with my assignments, I knuckled down with a TLA valve console and Studer A820 2" reel-to-reel recorder to track these songs. In six days I rattled off the drums, bass and most of the guitars. Vocal overdubs followed and I invited a few friends for guest roles.
I really enjoyed the process, as I had ultimate control, but realised that it was missing that special little something - the collaborative feel. I learned a valuable lesson.
Tumble Turn: Fishing For Carp (4-track EP, 2018)
After settling in to my new Melbourne digs and taking over the audio and drum departments of Allans Billy Hyde, I stumbled across Karl Hüttenmeister. We were playing in a vastly different band in 2017, which was akin to Dave Graney fronting the Bad Seeds. Guitarist Nick Evangelou had a folky solo artist mate named Greg Steps, with whom he had conceived a 'tradie punk' studio project.
Karl and I were tasked with recording it while filling out the rhythm section. It was lightning in a bottle and we couldn't resist forming a gigging band out of it. Lots of silly fun, digitally released on a fridge magnet!
FroHawk: Talons and Tambourines (3-track EP, 2018)
Pushing further with the 'Organic Electro' mandate, we reached into our collection of influences to bring about this somewhat darker set of tunes.
Fingers and Thumbs is a psychic dismissal of Trumpism (which Australia still struggles with). Sonically, its a conscious tribute to Underworld's Push Upstairs.
We were thrilled to secure Kevin Metcalfe to master this EP. The first record he cut was Jolene!! Since then he's done King Tubby, Kate Bush, The Cure... and Underworld!
Closing number Heart Slows Down seems to curry most favour with listeners.
Tumble Turn: Clickbait (10-track LP, 2019)
This second release of 'tradie punk' shenanigans reveals a greater depth of production and songwriting (as mature as any silly songs can be).
Being the band's final record is lamentable, but Greg had a new family to look after. Within weeks of its release the world itself would go viral, with a coronavirus sweeping the globe.
It would be great to give it a send-off at a Melbourne pub, because goddammit, we rocked!
FroHawk: Third Bird (3-track EP, 2022)
What a tough ride it's been enduring a pandemic! There were probably times we frayed at the edges and the challenge to our mental health is reflected here.
While we emerge like the phoenix, we leave behind the ashes Trumpism, though there's still a lot of residue sticking around from the nozzle of his spray tan can. Mop up in aisle three!!!
As always, sales of FroHawk's records go directly to the Refugee Council of Australia.
FONT: Coburg-19 (9-track LP, 2024)
The themes of rebirth and community is at the core of this document, evident in the songwriting, album title, artwork and resources used. The band formed at the Retreat Hotel (pictured) and they all live close to the No. 19 tram line in Melbourne. Rehearsals (Jam Hut), recording (Shogun Studios), mastering (Crystal) and pressing (Zenith) all occurred within their neighbourhood. Nine music videos accompany each respective song.
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