Dusty Milk Crates Vol. 3 by Chris

Our friends at Condensed Milk have released an instant-classic. This is a must-have compilation of amazing future soul and beat-music.

CDMK‘s Dusty Milk Crate compilations have being important chapters in the book of the contemporary underground beat scene around the world since the first volume’s debut last year. This volume boasts an impressive line-up of producers from all-around the world including (to name only a very few) VanillaRoughsoulOisimaFlash ForestSilent JayM-PhazesAmin PaYnE and many, many more.

Go ahead to grab it. By the way, it’s totally free.

Wafia & Japanese Wallpaper Show by Chris
March 14, 2013, 5:04 PM
Filed under: Live Show | Tags: , , , , , , ,

An exciting all-ages show is hard to come by. I don’t say this to complain about today’s tasteless youth (although the existence of One Direction proves that there is indeed an abundance of that), I say this because it was not very long ago that I too was an under-age music fan, desperately craving an event I could legally go to without some over-priced flavour of the month pop-headliner (whatever happened to Wynter Gordon?).

Brisbane-based indie-folk artist Wafia is being joined by Fuck the Radio favourite Japanese Wallpaper on the Melbourne leg of her short tour at 1000 pound Bend this Sunday and everyone (young and old) is invited.

If you are in Melbourne, why not go grab a beer/juice and kick back to some tunes in our extended summer.

Alta – Stay Awhile by Chris

ALTA are no strangers to Fuck the Radio but if for some reason you ignored our urgings to GO GRAB THEIR BRILLIANT FREE EP last time, perhaps this reminder will sway you. Check out the dope new video above while you are at it.

Lunch with Galapagoose by Chris
November 14, 2012, 11:52 AM
Filed under: Interview, Lunch With | Tags: , , , , ,

A few weeks ago Kleo got together with Melbourne producer/genius/nice guy Galapagoose over lunch… Skype lunch. In anticipation for Inca Roads Music Festival – where Galapagoose and the Fuck the Radio Collective will be sharing a stage – they chat about music, Melbourne, fame, Low End Theory, and most importantly Gourmet pizza:

Howdy! What are you eating?

I’m eating pizza, but currently some garlic bread. We have a ridiculous pizza place around the corner from our house and it is outta control.

Where do you live?

Just in Fitzroy North.

What’s the pizza place called?

It’s called Al Albero.

All right, I’ll keep note!

It is…the best pizza I think I’ve ever eaten…maybe…ever. This [pizza] is ridiculous.

That looks amazing! What’s on it?

I think it’s like: pumpkin, capsicums, parsley and goat’s cheese. The most amazing part is the tomato sauce; it’s like the best tomato sauce…ever…anyway, hi I’m Trent!

Hi Trent, I’m Kleo, nice to meet you. All right so lets talk music just briefly.

More about food.

Actually yeah let’s talk about food. There’s a tradition on Fuck the Radio when we’re interviewing musicians to ask what their preferred alcoholic beverage is:

I would say just a straight scotch. Just a real smoky scotch, or maybe like a cocktail, like a Manhattan.

And we have a question from a fan: He’d like to know that if you were in a band would you be called ‘Galapageese’?

[Laughs] Actually, its come up before. One of my friends had a dream, and in his dream I was being given an award and they called out my name but they called out Galapageese, and they were like “Trent, Trent! What’s happened? They said your name wrong!” and I was like “No, no! They said it right, it’s plural now! I’m just that huge!”

How did you start making music? When, and how, and why?

I’ve played music since I was a kid. Since I was like seven or eight or something. I was playing guitar and a little bit of saxophone and a little bit of piano. I guess I started writing music when I was maybe fourteen, fifteen. Just as being an angsty teenager and needing an outlet. I started doing electronic stuff that led into the Galapagoose stuff… not until the end of high school, start of uni…eighteen, nineteen. So what’s that? Like six years ago now? I just turned twenty-five.

Have you ever listened back on the stuff you wrote when you were fourteen, fifteen?

Little things. I actually listened to them the other day, ‘cause I just moved into this place and I was at my parents’ house cleaning out old CDs that had been there for years and years. I found all these demo CDs and stuff from when I was like fifteen, sixteen. Really funny: like, me playing guitar and singing really badly, my friend playing drums. It was kind of cute but at the same time it was really embarrassing.

Can I ask what it was about?

I was quite into abstract lyrics and stuff so it was very umm…


Yeah…talking about lightning rods, and lots of random things. Then there was some whiney “La la la, I wish I was with you. La la la why don’t you love me? La la la…”

Now you make, in a broader sense, electronic music. Do you feel like everyone’s doing it now? Do you get that feeling ever?

I feel like it’s easier these days to record and release electronic music than it is with acoustic music or, you know, music that you make in a room. It’s much more expensive and complicated to get recording equipment than it is to just use a computer. So I think that naturally most of the music being made, it’s by people who make it on the side for fun. You get that feeling a little bit. I do think that you hear indie music or rock music and everything seems to have a synthesiser now and it seems to all have some kind of processing. I like that, I’m kind of happy to embrace that. It’s just kind of looking at the tools that are available and making something.

So tell us about “This Thing”:

This Thing is kind of a record label, kind of just a collective mostly run by my friend Dylan – Wooshie. He handles more of the day-to-day stuff. It’s basically an outlet for us to release music and find music that we like. If we find other people making music that we really appreciate and connect with in some way, it gives us an outlet to take that to the market. Also it’s just been really good in terms of teaching us a lot about the industry; how to interact with more industry-type people, how to book gigs, how to deal with other record labels and distributors and PR people and all that. It’s almost more of, at least from my perspective, a learning setup but at the same time we throw some really amazing parties. It’s one of those great things where you learn along the way.

Who else is in the collective?

It used to be a lot more specific, it’s more loose now. It’s: Electric Sea Spider, Naps, Kane Iken, a couple of other guys like Mike Katz. I guess kind of Baba X and Zanzibar Chanel, but they’re kind of doing their own thing and those guys are totally crazy, they’re good fun.

And you guys are going to be at Inca Roads with us (Fuck the Radio Collective)?

Dylan and I are both playing, I think Electric Sea Spider is playing as well. Should be really fun. The idea of doing like a big outdoor festival but with only a few hundred people is really exciting.

So, I told you I was going to…and I definitely am going to… ask you about Low End Theory:

It was really cool. Its funny, it gets built up as this huge club party but in reality its way more about a bunch of young kids particularly between sixteen and twenty – it’s an eighteen plus show in LA where everything else is twenty-one plus – but it’s 18+ and its quite loose. It seems like everyone in LA has a fake ID, it seems like that’s the way it is. It’s full of kids, and it’s like they go there every week. Its not like a big venue where its like, “Oh are we gonna sell enough tickets?” Every week it’s full. There’s a line down the block and around the corner. We tried to go a couple of weeks after we played and there would’ve been a line about 600m long. Kids that’d been waiting there for four hours and we turned up at midnight and we’re like “Oh. I guess we’re not getting in…” It only goes until 1:30 in the morning. There’s the band-room upstairs which is quite small and has a huge incredible sound system which isn’t that loud but has so much bass it makes your guts rumble in a way that I haven’t really felt except at a huge festival. It’s really over the top in terms of how many subs there are. So it makes it really fun to play, but also really ridiculous. The venue’s quite big but the performance space is quite small. There’s a huge courtyard, and then another layer above it, and every week people go there and catch up with their friends, and meet people, and you get to talk to the people that make the music. Everyone there makes music or loves music. Its not the scene in like a hip, trendy way; it’s the scene in that these kids love hip hop music or they love this kind of electronic music. It’s their place to go and catch up. It closes at 1:30am which is when Melbourne kids start going out.

So do you feel like (in LA) its more about passion and love for the music and a little bit less about partying and being hip than Melbourne?

I think so, but at the same time there’s definitely the same kind of thing there as well. I think that it’s just that I haven’t really seen a party quite like that in the city (Melbourne). It (Low End Theory) is on a Wednesday night in a really bad part of town. The venue does have a very liberal smoking policy, so its not like kids are going out and taking pingers and drinking heaps of alcohol. It’s quite a different vibe there. So I think that maybe that contributes to why it’s not such a late thing as well. It starts earlier, finishes earlier, and people are like “yeah cool, I had an awesome night. I’m gonna go home now”

Don’t you feel like in Melbourne it’s more about doing the drinking and taking pingers thing? Or am I just being bitter?

I think if you go to the wrong places it is. That being said I don’t know many of the right places so… I mean most of the parties I go to these days are just friends’ houses or a warehouse party or a gig that I really wanna see one of the acts.

No clubs necessarily?

No I haven’t really done that for a while.

Is that because there’s a lack thereof?

I don’t know. I think maybe I’m just getting old and boring.

Do you get frustrated by Melbourne being small in comparison or do you like it because its cosier?

In terms of Melbourne being small, I don’t think that. I think, coming back, I’ve realised the potential of this city and Australia more generally. There’s actually a lot of kids that are really into it. Maybe there’s not quite as many but the ones that are really into it have a bit more money and are more willing to put themselves out there. It’s quite different; you go to the States and you can’t sell a record for more than twelve dollars, whereas for us they cost ten dollars to make. For us it’s “Yay! We made two dollars buy selling a record!” its kind of amazing that we can work on a small scale but run in it in more of a sustainable way. There’s a lot of positive things that we have that they don’t have in the states.

In that way, that means you can be at the headway of the progression in Melbourne. Artists like you and on your level are the ones that are going to bring it forward and make it bigger…

Yeah totally I’ve felt that even in what I’ve done. From where I’ve started to where I am now feels like a huge thing. For people to have heard of the record even if they haven’t heard it. It’s baby steps but its definitely happening. It’s fun to be on that leading edge, but more on the side of being able to bring it to more people rather than the ego trip.

Is there a little bit of ego though?

In terms of the ego thing, for sure you do deal with it. It comes and goes. I’m lucky to have friends who call me out and put me back in my place a little bit.

Have you seen any egos?

I’ve dealt with a few. Part of this whole entertainment industry is a bit about ego. You have to learn how to handle those people. Its hard to make a living, you have to suck it up and let people have their way. It’s a good skill to learn how to deal with those egos.

Who’s one of the most exciting people you’ve gotten to play alongside?

I got to play onstage with RJD2, that was kind of cool. I was in New York a while ago, doing some production work. I went down to Philadelphia for a trip to meet this guy called King Britt and his now ex-partner Russell. They used to put on these nights called Saturn Never Sleeps and I went down for one of them. The idea is that each person has a solo show and at the end there’s this weird collaborative jam thing. It was the two of them, myself, RJD2 and another guy whose name escapes me; this crazy technologist. It was really funny and bizarre but also fun.

In terms of inspiration, the people around Melbourne are as inspiring as anybody. I love making music with my friends; playing with Wooshie, or playing with Naps.

Tell me about how it felt when you released Commitments:

I think receiving the records was one of the coolest parts. Having a big cardboard box turn up on my doorstep… well, I had to go to the post office and pick it up. It’s this big weighty thing full of records. You open it up and you’re like, “Oh my god this is what eighty records looks like. Then the next day another box turns up and you’re like “Crap” this is a third of the records we’ve made. It kind of creeps you out. The cool thing about releasing a new record that’s different to what you’ve done before is that it opens you up to a wider audience.

How do you pay the bills? Is the selling of records enough to keep you alive?

Selling records, definitely not enough. Selling records makes you very little money. That’s the funny thing about our music; you might make 500 selling an album but the equipment you use to make that album is worth like fifteen grand. Before I did music full-time I spent a year working full-time doing a crappy office job, which helped me save money so I could afford to live.

Could you imagine doing an office job and being stuck in the grind for the rest of your life?
I can’t really imagine it, no. I don’t think I’ll ever be quite like that. I have lots of ideas of what I wanna do if I’m not making music but they’re all quite self-directed.

Because a lot of artists don’t know about artists’ grants could you explain how a grant works? I think young musicians would appreciate hearing it from you:

The easiest thing to do is search for Australia Music Grants online, and you’ll get lots of responses. Basically you come up with an idea…you look at what you can get a grant for…you can get a grant to write a new work which is what I got one for, but that’s gotta be more of an academic or a classic or a jazz kind of approach to what they’re expecting. In Victoria they have grants specifically for experimental music, there’s grants for touring, there’s grants for helping you promote and advertise a record. There’s a lot out there and there’s lots of different categories. Basically if you look at what you’re already doing and think about how do I get from here to the next step, you can probably find a grant that’ll get you from here to the next step.

I think I’ve taken up enough of your time Trent! How much of your pizza have you gone through?

This is piece number three, there’s only four pieces. I think three might be my limit! It’s hard work, even though it’s really good.

ALTA – Stay Awhile by Chris

Shaping up to be the release of the year, you better believe I’m tagging Alta‘s Stay Awhile debut BRILLIANT (the lucky 7th tag earned this year).

From the seductive slowness of the eponymous opener Stay Awhile to the cheeky musac samples in Elevator, the overall progression of the record effortlessly moves from dreamy sample-heavy blues-ballads to solid trip-hop sounds in Next and Bees.

The most impressive element of Alta‘s sound is the way beatmaker Julius’ sample-heavy beats marry with vocalist Hannah’s organic soulful voice to create a fresh-yet-familiar vibe within the tracks. The only thing I dislike about this album is that when I listen to it on my iTunes, Alta Mira by Björk always comes on once it’s over and that song drives me fucking nuts; but, assuming you won’t have the same problem, I highly recommend you take the time to give this release a download.

The XX – Angels (Japanese Wallpaper remix) by Chris
October 17, 2012, 2:33 PM
Filed under: Electronica, Inca Roads, remix | Tags: , , , , , ,

I’m going to jump on posting Japanese Wallpaper so that I can brag about knowing him before he was big. At just 15 years of age, he’s pumping out some pretty simplistic, yet aurally pleasing stuff, and this remix of Angels is really something else. Cheers to you mate. This track is great.

You can catch Japanese Wallpaper at the upcoming INCA ROADS festival.

September 19, 2012, 10:21 AM
Filed under: Inca Roads, News | Tags: , , , ,

INCA ROADS just this morning announced its killer line-up and it fits oh so perfectly within our FUCK THE RADIO  aesthetic; blending the best  mix of electronic artists, punk rock gems and other underground talent for a two-night camping adventure up in Mt. Eagerton (near Melbourne, Australia) from Nov 30-Dec 2nd.

The line-up includes a unique team-up set from the guys in the FUCK THE RADIO Collective: Yosemite, Bee Ampersand, Colourwaves, Willow Beats, Sub Dapper and Squarehead. They’ll all be on stage at the same time making music live together (like a real band!).

There’s also a pretty rad selection of art installations AND no outrageously expensive drink prices; it’s BYO!!

Early-bird memberships are on-sale at the moment for only $70+bf (the cheapest 3-day festival ever). We’ll be covering the event on the blog (in addition to our regular posting).


Jahnne – And I Would Again For You by Chris
August 31, 2012, 9:00 AM
Filed under: Dance, Upbeat | Tags: , , , , , ,

Music from Melbourne’s Jahnne has only emerged a month or so ago, but there’s a sophistication and quality present in his releases which suggests he’s been making music under a different alias for a-while longer.

A brief exchange of messages suggests this project is for fun- and that’s how it sounds. The two creations on Soundcloud are up-beat and woven together with joyous enthusiasm- just what I needed to get me through this busy week. And I Would Again For You is a summery tune which brings names like Lemon Jelly to mind. 2.35AM is a little more house-y, perhaps a pinch of Mr. Scruff? Who knows? Why bother comparing when you can enjoy the music:

Kaligraph E – Done Good EP by Chris

It’s wet in Melbourne at the moment, and I mean that in the ‘rainy and miserable’ sense… not the “haha- you said ‘wet'” way.

Luckily there’s some summery tunes out there that can always brighten up the cloudy grey weather until it changes radically the next minute.

An artist who seems to specialise in such tunes is Kaligraph E, who’s Done Good EP  was released on UK-based cassette-tape label 100 Akres last month. Funnily enough, Kaligrah E resides in Melbourne himself, so I’m not sure where the inspiration for these sunny tunes is coming from- but I’d sure love a taste!

The whole EP is available for a choose your price (with no minimum) off of Bandcamp direct download, so you can grab it there for free if you like! It’s got some neat remixes from Fuck the Radio faves Handbook and Vanilla

Fuck the Radio Party by Chris


It is with huge pleasure that I (finally) announce the FUCK THE RADIO monthly party in Melbourne this week on this blog.

If you live in Melbourne, Australia, come on down to the intimate Soft Belly Bar and share a drink with the family. You’ll know that everyone around you has amazing taste in music!

Willowbeats is an act who hasn’t appeared on this blog yet because I’ve been saving them for something really special. Finally that something special is here- but don’t take my word for it, check ’em out here:


Squarehead is a great psychedelic/progressive act with some really beautiful tracks. I’m stoked to have him play live:


Bee Ampersand is a familiar name to long-time readers, mixing all of the much-adored mix-tapes.

You can find more infor about the event on the Facebook page here:


And even read about it on Acclaim Magazine’s website here:


Unfortunately, I will be taking the remainder of the week off from posting music to the blog. I know I have slowed my post-rate lately, but that was all due to the work that had to be put into this event to make sure it happened in the best way possible. After this weekend posts will return to their usual rate. There are bigger and better things on their way, this party is just the beginning…


Sub Dapper by Chris

With only two releases readily available- it’s an exciting time for Aussie producer Sub Dapper to establish himself in the country’s burgeoning beat scene. Check out his stuff while you read the interview I did when I caught up with him earlier this week…

Tell us a little about your musical history? What did you grow-up listening to and how did you get to where you are now?

When I was a little kid basically all I listened to was The Doors and Frank Zappa, in high school when I learnt a bit more about music I was really into the heavier slightly electronic post-punk bands like The Blood Brothers and Test Icicles. I only really got into beats in 1st year uni when a friend played me some Samiyam which got me onto the brainfeeder label and yeah my mind was blown.

Your beats blend a-lot of different sounds from a range of genres- what’s the biggest challenge for you when putting a track together?

The biggest challenge would probably be trying to make my songs sound like “songs” if that makes any sense? before this project I was in a psych-thrash band so the whole electronic thing is all very new to me. To go from such a chaotic style to one that is (to some extent) much more organised has, and continues to be, a real challenge for me.

 Oh my! ‘psych-thrash’, anywhere where I can listen to that project?

Unfortunately all the recordings were lost when my last computer’s hard drive corrupted (fuck you apple!) but I will hopefully be doing some thrashy stuff on the side in the near future though with some of my pals in Chicks Who Love Guns and Micheal Crafter (The band not the dickhead.)

What are the guilty pleasures in your musical taste? 

Cant help but jive to Walking On the Sun by Smashmouth, ruined many an atmosphere with that baby.

You’ve got 2 tracks up on your Soundcloud; Is there a plethora of music hidden away on your computer that we can hope to see released or are you still playing around with the ‘Sub Dapper sound’?

There’s about 200 tracks on my poot at the moment but I would consider at least 180 of them to be my musical yellow brick road. Within the next month I should be releasing at least 3 more songs. I should mention the response has been pretty sweet so far; I was really scared to put anything out so yeah I’m really surprised!

Does the name ‘Sub Dapper’ mean anything?

‘Sub Dapper’ is a bit of a description of myself I guess. I am prone to wearing dress shoes and collared shirts (Looking ‘dapper’ as your stanky british grandma might say) but also prone to acting ‘inappropriately’ at times. Therefore “Sub Dapper” (also I think a “Sub Dapper Zapper” would rival Bart Simpson’s Go-Go Ray)

What do you listen to when you are not producing?

At the moment I’ve been really into Chinoiseries pt.2 by Onra and Sam Baker’s Album by Samiyam. Anything Oizo tickles my fancy and if I want to get down I love a bit of fidget house (really into Aniki at the moment.) Local artists ive been digging are Flume (Who sn’t?), Colourwaves, Willow Beats, Odsoc and Oskar.

 Booze of choice?

Cheap red wine, “Mr. Big Mouth” if it’s on offer. Who can resist a pelican in a suit?




The Townhouses – Backyard by Chris
January 5, 2012, 3:52 PM
Filed under: Chillwave | Tags: , , ,

The Townhouses

The Townhouses is a deceptively pluralised name for what is fundamentally a solo project out of Melbourne, Australia. Although main artistic mastermind Leigh Hanna is accompanied by Hamish Brooke on trumpet in Backyard to create a dreamy atmospheric chillwave piece with a subtle hint of African musical influence.

Backyard fills out the musical spectrum in an enriching way; with the deep bass drums grounding the low-end of the frequency spectrum contrasting nicely with the glitchy lyric-less vocal line and hi-hat flutterings that occupy the mid and high sections respectively. Your ears will appreciate the variety of sounds used in the piece and how well The Townhouses has managed to fit them all neatly together in one beautiful package.


The Townhouses – Backyard

Bandcamp (free EP available):


Soundcloud (more free music available):



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