I’ve covered a lot of techno DJ’s in this series but haven’t spoken to many people making the tracks the DJs are playing. HPS? (Gavan Griffen) is possibly Sydney’s most prolific techno producer at the moment, with two self-produced CDs on the market, a recent release on a local label, and playing live gigs of his own production work frequently at SWARM parties, Tampered @ the Bat & Ball hotel, basically wherever he can get a gig. DJ Ned did a comprehensive profile of HPS? on ITM back in July last year – I caught up with him at 2SER last week (where he was playing some of his new releases on Vic’s Khaoscillation radio show) to find out what he is up to now.
HPS? is a talented DJ as well as a producer – I have the evidence in a storming techno mix-CD from a set he played last year. But producing and playing live is clearly his major love – I asked him why?
It’s a bit self-indulgent. You play live in front of a crowd, and don’t have to play anyone else’s music! You get a huge rush watching them all going off, knowing it’s all your work. I’ve DJ-ed a lot as well as playing live, and live leaves it dead. I started off DJ-ing, but that was as much lack of equipment as anything. 
A lot has happened in the last year for HPS? – we talked for a while about some of the highlights.
Last year was amazing! I’ve been signed to a record label, Enigma Records. They have about 4 or 5 local artists signed, mostly on the hard-house, trance tip, and myself. The other artists are Xenobis, Strobed, Vas and Accession. I know Phil (Accession) and he put me onto the guys who run Enigma – I sent some stuff in and they are like “Yeah yeah yeah!”. I’m not into what the other guys are playing, stylistically, but from a production point of view they are very very good – flawless. I think Enigma have brought me on because they want to cover a few different bases, to cover a broader cross-section of the market. They’ve just released Enigma Volume 1, and I have three tracks on that (Quantum, Switch and Luciano [Tech Mix]). They reflect a mellower side of my production – I heard the other guys’ music first, so I gave them one hard track and a couple of mellower, funkier tracks. [It’s out in the stores now – check out Peter’s review on ITM or Enigma Records.]
I’m also pushing to get something on Vic’s SWARM label when that is up and running – but I’ve been on board there for pretty much four years! It’s especially difficult getting vinyl pressed – there is only one vinyl pressing machine available in Australia, in Melbourne, and they charge heaps, because they can! They have a market stranglehold – the only other option is to get it done overseas, but then the freight adds to the cost. And in this scene, it’s just not viable – there is not a lot of money to be made in techno, nor do we have the population that say England does, so volumes are small.
I read a survey recently where one Sydney dance-radio station’s listeners were quizzed as to their preferred musical genre, and only 2% of them picked techno. Does he see this as being a problem?
In Sydney, yeah. I think a lot of people aren’t musically educated, and a lot of people just think techno is all banging, hardcore stuff. It’s also not fed to them – a lot of Sydney people are happy to accept whatever is fed to them, and particularly with techno you have to make an effort, go and find out where the good stuff is being played.
So how would he describe his own style if it’s not all banging hard stuff?
Freight train! [Laughs] But I’m not necessarily the guy they are scared of – it’s not too hard I don’t think! I write music for the dance floor. I don’t write music to be “intelligent”, or to be up my arse like a lot of people are, purists. I’m a punter – I like to go out and dance, and I know what I like to dance to – I write that sort of music. I hear stuff I like and try to emulate it – I call it a “freight-train” sound, but it’s not necessarily that fast, around 145 BPM, but it’s powerful, percussive, rolling techno. Over the last few years my work has progressed mostly on the production front. It’s much cleaner, smoother, more professional. I take more time over it, pay more attention to detail. I used to just emulate music I liked – now I’ve developed my own style, and am getting quite happy with that style.
So where to from here?
Well, I’ve sold out of my first couple of CD runs, and all the ones I’ve set out to sell, I have done. Considering how easy it is to make CDs I think that’s a viable route for further releases – the big heartache is in distribution though. A lot of record stores will only take it on consignment so you don’t get any money up front. I’d love to make a living from doing music, but being honest about it, I probably won’t be able to. I’d probably have to broaden my musical stance and make it more commercial to make any money out of it and reach a wider audience. My stuff sells – but not in any great hurry or in any great numbers. I’ve always been told by other artists, people in the music game, my parents [musicians themselves] to stick to what I know and love. If it’s money you are after, you’ll have to compromise – make music they stick on videos – and I hate that shit, I’m not going to do it. Techno is what I know and what I love, and that’s what it’s all about for me.
I’m in the process of putting another CD together, and this one will be all studio tracks. Apart from the Enigma release, all the other CDs I’ve done have been live. It’s going to be a bit different, mainly techno but a bit of drum ‘n bass, a bit of hip-hop as well. Dan [his partner Danielle Youard] will be doing the vocals for me – she’s a good singer, but I’ve never had the experience of recording vocals so it will be a new experience for me. The album will still be techno, and even the hip-hop tracks will have a tech edge to them. I’ll release it through the same people as before but I’d like to spend a bit more money on it, get the cover work professionally printed and labels made, things like that.
I’ve also had interest from an outfit in London who have agreed to release some of my stuff on vinyl – I don’t have any commitment on paper, but we’ll see how that goes. We are in the process of putting a website together right now, as well. I’m not really after any residencies – getting a residency means that I’d have to come up with a new live set every couple of weeks, and I just can’t do that. I’m looking at playing parties mainly, some interstate – I’m booking gigs in Melbourne and Brisbane & Perth.
And in Sydney?
I think Sydney lacks a lot – the scene could be a lot bigger. Most of the techno scene is underground, and unless you know where to look for it, it’s hard for people to find. I think people in Sydney are scared to try new things, and they don’t necessarily go out for the music – they go out to get trashed and have a good time – which is fair enough too. And the scene is very young – not that many young people are into techno. But – I think the scene here is ready to blow up – these things run in cycles, and I think it’s the turn for techno. In 93-94, the Detroit techno thing was huge – and it’s gone around a full circle, I think it’s time again. And if I was to get into Gas or Home and play the people a techno set, I think they’d love it! They may not know what the hell they were hearing, but they’d lap it up, go off! But the promoters aren’t willing to take that chance….
Yet. I’d pay good money for a techno evening in a good venue like Home, especially one that included HPS? playing live, and he’s got a growing band of devotees to that freight train sound. Keep an eye out for his new CD, and if you can, catch the train live – it’s quite a ride.
Photo credits Steve Phillpott, Gavan Griffin collection
