Melbourne’s Cam Farrar AKA Kikumoto Allstars was drawn to electronic music way back in the early 80s when he saw Devo perform on TV, and was later swept up in the dance music revolution in the 90’s, in attendance at warehouse and bush parties a plenty. More than a decade later, his musical talents were recognised by DJ Hell and his famed International Deejay Gigolo record label, who are releasing his debut album House Music.

And it’s a release that channels the Chicago acid house spirit of his raving youth is a really big way. “I guess it is a concept album, and the starting point was the original Chicago house music from around 1986-1987,” he told ITM. “The album was produced solely using Roland synths and drum machines from the early to mid 80s that were first used by the original house music producers.”

With this self-imposed technology limit, he wanted to reference the old ‘Chi-town’ sound, but to also try and take it further. “I felt like the music from this era had a special sound that had largely been forgotten. I wanted to explore all the facets of house music from the harder jacking stuff, staccato piano chords to the deeper, more melodic pieces.” ITM finds out more from Melbourne’s Kikumoto Allstars.

Where did you get the name ‘Kikumoto Allstars’ from?

The name comes from Tadao Kikumoto, who is recognized as the main force behind the classic design of the classic Roland electronic instruments from the early to mid 80s, most notably the tb-303 and tr-909. I believe he is still employed by Roland and is actually now the managing director.

How did you hook up with International Deejay Gigalos, and how would you describe working with them from an artist’s perspective?

It was fairly simple, I just sent a CD and the guys at Gigolo liked it and wanted to put it out. I have since learnt Gigolo are sent many unsolicited CDs, and many never get listened to purely because there is not enough hours in the day.

Tell me about your studio. What kind of tools do you use in your production?

I used many of the Roland synths and drum machines, things like the Juno 106, Juno 6, Alpha Juno-2, JX-8P, SH-101, tb-303, tr-707, tr-808 and the tr-909. I used outboard compressors and fx units and I uses an apple G4 running pro-tools.

What aspects of the music you play and produce do you enjoy the most?

I guess I like the fact that it’s uncompromising, it’s not trying to be music for the common man, it’s for the people that dig a little deeper. From a technical point of view I like the warmness and the dynamics of the old gear, it has a particular sound that can’t been replicated with digital synthesis.

Do you think of yourself as more of a producer, or a DJ? Why?

I would say I am equally both. I am quite obsessive so when I do something I tend to through myself into it totally. When I produce that’s all I do, I play with tracks for hours and when I’m not in front of the computer I’m listening to the tracks in the car, taking notes or whatever. By the same token when I DJ I spend many hours building a set, thinking about what to play. I keep my sets different from night to night to make it interesting for myself. If I’m in a particular city I’ll try and play something unique to that place to give them little surprise and show a bit of respect for the people there. For example I played a place in London called Trailer Trash about a week ago and I closed the night with this indie track by Jack Peñate called Tonight’s Today. The sun was coming up and it was just an amazing moment, and so it was perfect for that one night.

It goes, “Tonight just became this morning/ The sun’s waves at the moon/ The thought has just started dawning/ That there’s still so much more that I can do/ I shuffle into the sunlight/
A zombie roaming on the day/ She looks at me and says ‘What a sight’.”

Your track Shed 13 is a tribute to the docklands warehouse parties in your home city. Where else to you get inspiration from?

Much of the inspiration for the sound came from Chicago house music from 86-87 and the warehouse parties from the 90’s in and around Melbourne that were happening when I was younger. I find much of my inspiration for doing music through comes from just observing things really, sitting on a train and watching the interaction between people. Or when you see the loneliness in someone’s eyes as you pass by, just the little things.

You are due to head overseas soon. Is this your first international tour?

I’m actually in the middle of my tour right now actually. I’m currently in Berlin, it’s the most amazing city. I’ve played in Europe before but I guess this would be my first proper tour, with the album promotion and quite a few DJ dates in London, Berlin, Barcelona and Paris.

Tell me about some of the highlights of your career so far.

You have moments that are special, like when you release your first track or your first DJ gig or whatever but I don’t really like to get to hung up on what has happened before. As soon as I finish something, I kind of leave it there for others to pick up on, I do the very best I can and then I’ll on to the next thing. I feel like there’s much more to be achieved so I guess I’m more focused on the next thing.

Whats next for Kikumoto Allstars?

Fame and fortune.

Kikumoto Allstars’ House Music is in stories from July 4th through International Deejay Gigalos and Inertia.