In an atmosphere where many in the scene cling to tags and genres like driftwood at sea, there are genre defining artists and albums which seek to shatter complacency and question how we listen to and appreciate the musical form. The true innovators of our time sought to break free from constraint and blow their own way.
Kraftwerk’s trailblazing embrace with drum machines and synthesisers was a radical affront to a post-war European culture of stagnation and obsession with the American style of beat muzak. The Belleville Three took inspiration from the barren landscape of Detroit around them, infusing an ironic sense of vibrancy and warmth into a musical form ridiculed as robot pop and seen as lacking the human touch. Instead of following the instructions and accepting the status quo, these renegades created their own distinct sound and style. To quote Theo Parrish:
“Even when misunderstood, we all demand respect. We want to communicate in a general way but we can only truly tell our own story. No one can duplicate your signature, your mark, your life.”
Those who have caught Phunk de Sonique’s ultra-rare live performances over the past few years or who got a hand on Sara Giampa’s “Data on Dub CD” will attest to witnessing a form of musical expression stunningly free of genre constraint. The trio of Christian Vance, George Galanis and Chris McLean seek out their own direction and since 1998 have developed this sound and style originally inspired from the innovators mentioned above into something truly unique. As Christian puts it “It’s like going somewhere and getting your suit tailored as opposed to buying a printed tee that 5 million other people are wearing.”
After largely disappearing over the past four months beside the odd DJ set from Vance, Phunk de Sonique return with a bang over the next few weeks. First up is a return to the baby grand and a follow up to April’s “Blow You Own Way” party, this time with Belgium sensation Fabrice Lig, whilst next week intergalactic conflict hits the streets of Melbourne and the “War Of The Worlds” is upon us. Ahead of this fortnight of frenzy I caught up with Christian Vance to ask the big questions.
It’s been a long time between drinks for Phunk de Sonique in a live setting at least, what have the three of you been up to since?
“Finishing up music for release really. Just stuck in the studio.”
What does Phunk de Sonique try to achieve with its music? What is the motivation behind what the three of you do?
“I think the basic things that we’ve seen so many great, artists and DJ’s and sounds over the years and trying to bring it all into something you can do on stage for people. But it’s always going to sound different because we’re really into the fact that we’re from Melbourne and it’s got it’s own vibe really, although people pigeon hole us into this ‘Detroit thing’. I think that’s because they (Detroit producers) tend to be more prolific artists, they concentrate on rhythm and conceptualising what they do a lot of the time and we’ve really used that mindset to do what we do on stage”
Branched out from the original concept?
“Yeah, and done our own thing. It also takes bits and pieces from European electronic music and all sorts of things. We listen to a lot of Afro beat, Jazz; Chris always has Hendrix on in the car.”
Are there distinct elements the three of you bring individually to the group? You talk about Chris playing Hendrix in his car.
“Everyone always asks us this (laughs)! I guess yes and no. It just depends on who’s been writing what and when but I think that we’ve all known each other so long, and we’ve all got different tastes, we know how it’s meant to sound now when we perform. Not ‘meant’ to sound, that’s wrong, but how we would like it sound. There are bits and pieces that each one of us would not so much dislike as question perhaps. You know ‘Why have you done this, why have you done that?’ ‘The paraphrasing of that rhythm is boring’
We bring our own individuality into it, but now it’s got a life of it’s own really.”
Can you tell me about some of the groups and artists that influenced you growing up and has that carried on into what you are doing today?
“Well yeah, there always is. It just depends on how long you want to go back. I remember dancing around with Chris when we were pre-teenage to all kinds of things like Technotronic and Ya Kid K and Ninja Turtles Movies and that was kind of cool, it was this black electronic dance music which now as adults and music producers it’s kind of cheesy. Things with analogue sounding machinery always fascinated us. Then of course along came George in high school and we have broad musical tastes between us but they are quite similar. I think the most impact is definitely Detroit electronic music.”
We haven’t seen you live since April with Aril Brikha. What are the pros and con’s for you of playing live vs. a traditional DJ set and are there times when you’re in the studio and simply throwing on some vinyl is tempting?
“Well playing records is easier. It depends really, most DJ’s to me are still pretty token; everything from wallpaper DJ’s who just meld in to the background of a club to the really engaging DJ’s who just play really good music or can mix it really well. Playing live is really more of a challenge, you have to rely on the technology that you work with and look after all the time. So pros are really that you get to play your music for the duration of the set; you get to manipulate and extend it and people are really bonding with what you’re doing. When you’re DJ’ing on the other hand, your playing with other peoples moods and putting them together in your own way. You’re telling the story as opposed to playing live where you are the story.
Moving on to the gig on Friday with Fabrice and next week at War of the Worlds, what kind of sound can we expect from Phunk de Sonique as opposed to past gigs?
“Since the majority of our sets are still in Melbourne, we try to customize and tailor make each performance. It’s like going somewhere and getting your suit tailored as opposed to buying a printed tee that 5 million other people are wearing. On Friday Fabrice is playing after us as opposed to Aril who played before us so it’s going to be a down-vibe kind of set, but that’s not to say it’s going to be boring. We can play a lot with our sounds, we can change it a lot more and keep peoples interests, and it will be less minimal. As far as the Kevin Saunderson gig, I love big room techno, it’s going to be a cool vibe.
Well the atmosphere is going to be a bit different at the Hi Fi Bar as opposed to Friday’s Honkytonks party. A spaced out vibe?
“It is a big gig but we’ll steer clear of any references to aliens or dead authors (laughs.) You’ve got a lot of space really, you can throw your beats and rhythm around in a room like that because people are watching and listening from all kinds of angles where as in a normal smaller club gig people are kind of flat on the floor in front of you. There will be a lot more manipulation in the Kevin gig I think.”
War Of The Worlds has taken on a different direction this year as you know with the separation of the Trance and Techno elements. Was this an inevitable step and do you see it as a positive one?
“I think it was necessary so that it could happen really. It was this kind of old school vibe and it is really the last real old school rave party still going in Melbourne where everyone gets together and listens to this weird music that is of course so common place now. To me it’s the best line-up of a main room in terms of order and structure. I think playing with Mike Callander, Ben Cromack, Craig McWhinney, Dave Pham and of course Kevin Saunderson, its really cool.”
Back on the production side of things, your signed on Derrick May’s famous “Transmat” label.
“Well apparently anyway. That’s the rumour.”
What’s happening at Trasmat?
“Well it’s an apparently thing really, it’s a rumour. One day it would be good, there’s some music sitting there but at the same time there’s a whole heap of music that’s been written since. There are similar ideologies shared between Derrick and the three of us. We’re focusing on a local label that’s starting up which is Mike Callander’s label Chalk City and I think instead of jumping on the bandwagon of another city and another bunch of people it might be a good idea to do some things here.”
Any plans on the hotly anticipated full-release?
“November perhaps, maybe…”
That would be on Mike’s label?
“Possibly. You’re the enemy tonight Tim (laughs).”
You’ll keep your cards close to your chest then! That’s alright! (laughs). Talking about the local scene, what’s your impression of the local scene at the moment, in general and from a tech point of view?
“I don’t think techno enthusiasts are open minded enough. I don’t think they appreciate anything outside of their realm. I think that’s a bit of a shame and I think a lot of the concept and ideologies of techno music has been lost on a lot of people.
It’s too narrow minded in a lot of ways?
“I think it’s ignorant and that’s because of the culture. There are some really good key players in the industry that are supporting different kinds of electronic music and who believe techno is an extremely powerful form of music, if still misunderstood by the masses. Still there are some great record stores and DJ’s out there, live acts I’m not sure. There definitely are a lot of great records being made overseas, and a lot of DJ’s playing them here.”
Has the rise and rise of the local breaks scene surprised you?
“No it doesn’t surprise me, Australia has been copying Britain since it was colonised really but to me it’s almost like Top 40.”
Do you see this as a temporary flux in the market or a more permanent change in the electronic music demographic?
“It’s a fad. A break is still something that you rip out of a James Brown record. These progressive breaks, they’ve been around for years. I remember when all the trance guys got tired of playing the same old four kick to a bar stuff so they tried to change it around and all these ignorant people thought it was the most amazing thing since sliced bread. Back in the early ninety’s people like Carl Craig were throwing beats around like a tossed salad and it was interesting because he didn’t have to rely on a looped CD and a computer to do it on.”
You do have fair belief in the local scene, do you think the Australian scene is able to sustain a live tech outfit such as yours or is going overseas inevitable?
“No, definitely not. I think that you can do a lot of good here but you almost need to have recognition from Europe and European labels in particular to succeed on a permanent basis.”
Just to finish off, what 5 albums would you need if stuck on a deserted island in the middle of nowhere?
“Wow I like these kinds of questions (long pause).
Miles Davis – Kind of Blue
Derrick May – Innovator – because Strings of Life changed my life
U2 – Achtung Baby – for Brian Eno’s amazing work
Brian Eno and David Byrne – My Life In The Bush Of Ghosts
Fleetwood Mac – Tusk and
TRANS EUROPE EXPRESS (plus sound effects)!!”
Thanks a lot Christian and good luck for the next two Friday’s!
“Thank you and I hope to see everyone there!”
Catch Phunk de Sonique live on the following dates.
Friday 24th September with Fabrice Lig @ Honkytonks, Melbourne
Friday 1st September @ War of The Worlds – Hi Fi Bar, Melbourne
Saturday 16th October @ Sunny – Brown Alley, Melbourne
