About Me
Was '80s disco and electro geek before discovering house and the DJ lifestyle (hey, where were my groupies and private jets to fly me between $40k NYE gigs?). The DJ career of the early '90s coincided with the forming of a band - a collective, of course, these were the days of Soul ll Soul/S'Express - a seemed-like-a-good-idea-at-the-time amalgam of house, rave, madchester and whatever else turned up in the local record store that week (it was a dalliance with drum 'n' bass that led to the severing of our one and only record 'contract' - do handshake deals for two 12"s count?). Known as Good, the band was briefly signed for an EP (ummm... called The Good EP), or two, with the now legendary Vicious Vinyl, at the time home to our house heroes GroundLevel. Bizarro live gigs ensued involving DJs, interpretive dance, cross-dressing (not me, i don't look good in stits) and fluctuating line-ups; then there were the continual recordings of demoes (somehow involving now famous breakfast radio presenter/comedian Dave O'Neil and hallowed indie god Mark Murphy of Ripe). There were gigs with long-forgotten R&B boy band CBD, covers of The Smiths and Nancy Sinatra, dance radio airplay for a track inspired by a police raid on a nightclub in Melbourne and then... there was one (I think I'd 'gone solo' by default). The Good name stuck for most of the '90s though, with sporadic appearances on compilations (ummm... we somehow owe the rec companies money for those still), royalty cheques thanks to the use of music on kids TV (hello, Pascal Fox, we still remember your stories set to those songs), a one-off flop single through a major (still haven't seen the vid they made for that) that featured a guest vocal by Linda from Wicked Beat Sound System (never did meet her either) and proggy remixes I had no control over (oops - better be nice, that remixer is famous now). Blah blah blah... DJing seemed an easier option for the end of the '90s and start of the noughties, with only the occasional remix and production job thrown in: Maxwell (unreleased), Renee Geyer (released), Tina Cousins (released), Noonday Underground (unreleased), Gator (released), Paul Main Project (unreleased)... can't win 'em all. But now the studio seems a lot easier again. And an amalgam of house, electro, disco, indie, nu rave and post-punk anything is no longer that bizarre. So nights are spent twiddling knobs (add your own punchline...) and recent years have been spent producing/engineering/mastering/remixing a variety of projects including work with/for The B Dolls and The Blow Waves (both new projects for former The Mavis's singer Matt Thomas), the-artists-once-again-known-as Fluorescent (intense sounding cathederal-of-sound act) and so on. In 2006 there was a soul house cut as Mac Project (with mod house nutter Eddie Mac) on the Secret Sounds comp through Level 2 and Fluorescent's Cattle Brand EP which featured remix work by myself, the bonkers baleric Askew, industrial house don Peter Finger and DJ star Harris Robotis. I tinkered with the mastering as well... A remix of Matt Doll's She Beat is out now on Artisan The Album compilation (alongside Winston Giles Orchestra, PTY LTD, Grafton Primary and Mr Jigga). There's also a new collabo with the re-imagined Fluorescent, and an EP of Little Bitch remixes by the The Blow Waves is now available for download sale thru iTunes Australia and New Zealand.
