by Schaffer Mac.
To give a quick explanation the indie 100 is a QUT run program, specifically made so as to deliver experience to students, as part of the university’s course of ‘music and sound’. To simplify this gives name to the week long project of recording 100 songs from various independent artists. The 100 songs themselves have in fact already gone through a filter system, in the form of panel review. Out of all submissions by artists the 100 best songs are chosen- without any preference given to existing popularity of the band, or media presence, ie facebook fans.
As the years have progressed various other courses within university have attached themselves to this project in appreciation of its opportunities to give ‘real world’ experience to it’s students. Today, the program incorporates producers, filmographers, entertainment students and more . And this isn’t even emphasising the opportunities this gives to the selected bands themselves.
Furthermore, to promote further exposure of the bands and the project itself our Dave- from the washup- had agreed to interview some of the selected bands after their session. As the first day of this project coincided with Dave’s Birthday – and me being his friend, housemate and head reviewer- I thought it would have been fairly dickheadish of me to not go.
And so Dave and I knocked on the door of Gasworks studios to be greeted by a bouquet of pretty women. Dave, recognising the dilemma quickly made efforts to retreat whilst veiling himself (and me) in perhaps the most borrowed excuse in any western society- “Hey. Do you know where we can find a good coffee?” It was clear he needed a chance to regain his composure, and naturally his initial instinct, much like the rest of corporate society was to trust in the power of caffeine. Because everyone knows that known stimulants generally save you from situations in which you’re attempting to exemplify your cool, calm, collected self… right?
We return to the studio, coffees in hands, this time met by Phil Graham the curator of the project and Head lecturer of music at QUT. To me personally, and this was only to be more concreted as time went on, he seemed exactly what you’d expect from the amazing dot points he’s willing to reveal about his life. Whilst, at times showing his eccentricities he maintained that cool exterior of someone who had survived the rock’n’roll road.
Phil invited me to walk between the three recording studio’s and just check out some of the bands and the music they were creating. Suffice to say with the level of quality that had been selected for this project this sort of instantly transformed the project into my own personal smorgasbord, with each studio able to serve up new and wonderful tastes every session. Needless to say, this sort of set the precedent for the entire week. Each afternoon Dave would drive to the studios to interview bands after their sessions- and I would decide to tag along.
Each day we were greeted by the bouquet before hopping between the various studios. Naturally, being so many artists it would prove cumbersome to list and review every act. But nonetheless I should tell of the talent and contrast in genre’s- The amazing Sahara Beck, with lyrics that confess a wisdom beyond her sixteen years, or BlaqCarrie’s honest hip-hop or Alan Boyle or Tundra or Dear Anonymous or Ink. To be honest I shouldn’t even have started listing, as there is literally too many to name. But to gift you four hours worth of a sampler, below is a link to some of the recorded songs.
Naturally, such a project runs with a dead line – and for those unfamiliar with recording, 1 song in 1 day is a much more suitable process rather then 100 songs in 7 days. The Experience itself, from all accounts, ran perfectly smooth. It should be said that this was in part, if not entirely, due to bouquet.
Sitting in the recording studio, as some new artist records their music is perhaps one of the most interesting experiences I’ve had. And it should be understood that this is in no way a reflection of some sort of fan boy moment but more so as a general appreciation of it’s mortality inducing abilities. The general process of the entire industry is that you hear these amazingly talented musicians, and thus subscribe to a slice of their omnipotence, Then, sooner rather then later you decide that on the scale of mere mortals to gods that these musicians are in fact somewhere closer to gods. But sitting inside that recording studio all of this changes.
You watch the producer compartmentalise the sounds - to the point where the recently discovered, incredibly self-aware mortal sits next to you on the couch with a look on their face that commonly confess their single, uninterrupted thought of- “well, if you play my individual solo again I may cry.” And you realise in that moment that this is how rock gods start- fragile- and even if this doesn’t suit you –say you’re a groupie and you like the idea of false glorification, with this experience you at least recognise that even in the most ancient of myths the heroes were partly mortal, and wouldn’t be themselves if not for the truly Olympian efforts of his production.
Naturally the producers, of which I attach these Olympian efforts to, are in fact the entire cast of the indie 100 projects… Here’s a list!
- Tyrone Noonan
- Adam Quaife,
- Miro Mackie
- Mike Howlett
- Phil Graham
- Kiley Gaffney
- John Willsteed
- Gavin Carfoot
- Yanto Browning
- Briony Luttrell
- Tom Hunt
- Julia Kourtidis
- Alex Miller
- Josh Tuck
Posted on Monday, June 3rd 2013