![]() Please no, I just spent all day on Zoom at work…Īnd then when things (repeatedly) opened up a bit? Sit down gigs. So, people started coming up with ways of ‘carrying on’ such as streamed live gigs… People I knew with 6 or 9 months of bookings suddenly had everything cancelled, and zero chance of earning any income not just the performers, but the sound engineers, tour managers, lighting operators, roadies, veejays, hire companies, venues, merch sellers, and so on. ‘Things lurched to a sudden halt almost overnight. What changes did you observe within the arts, and electronic music scene? ![]() The last couple of years (pandemic lockdowns, etc) have impacted music and the arts heavily. ‘Of course, with gigs returning, my work with bands such as Hermitude has started up again, with a short album tour under our belts, and some festival shows on the horizon.’ Good Space will be returning with an even bigger complex of pop-up venue spaces in Summer, and Vitalise may well appear there again in a weekly capacity.’ So, I have expanded the team somewhat and there have been a couple of spot gigs here and there. I roped in a bunch of awesome helpers, but it was still a big workload. This time, it was quite tricky to do by myself. For those who remember the old days, I suppose it was a bit like Frigid. Last year I did a brief run of eight Thursday nights of live electronic performance called Vitalise, in the Rocks, at a 2-month pop-up venue called Good Space ( ). I’ve also been slowly working on a few of my own Eurorack modular synth module designs, and plan to launch them, hopefully later this year. Playing solo live is quite new thing for me, so we’ll see how it goes. I’m going to try and use a modular synth setup and do it all out of that. I boldly suggested I could do a live set down there, and he has me down for late September – it’s good to have a deadline to work to, or I’d never get anything done. Phil Smart ( ) is running a weekly night called Tempo Comodo ( ) and the idea is that all the music should be under 120bpm, which I found an intriguing concept. ‘Well, I’ve been putting together a solo live set for a gig. There’s one on September 29 th, for those in Sydney town… Meanwhile, I spoke with Luke recently to find out how he spent the last few years, and to find out what shows he has coming up in the not-too-distant future. For those that would like more of an introduction, a brief biography follows the short interview, below. He’s also a conduit for vast amounts of knowledge and information on the subject assiduously and meticulously illuminating the often-mystifying intersection where electronics, infotech, music, and visual arts meet. What this modest description may not convey is the fact that Luke has been something of a prime mover and pioneer in the realm of electronic music in Australia, having worked to bring emerging sonic arts to the notice of the Australian public since the early 1990s. His own twitter bio portrays him as a ‘programmer, webnerd, live sound engineer, deejay, cat fancier, hobby aquarist, science enthusiast, lover of sub frequencies’. To those familiar with the electronic music scene in Sydney over the past 30 years, Luke Dearnley of sound system duo Sub Bass Snarl ( ) will need little introduction.
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