Dana Berghes Interview

Dana Berghes, what’s it like to be an impresario, upsides, downsides?

I’m not an impresario :), I have friends that make nice music, and I describe thier activity on my website, that’s it. I try to support them because I don’t like seeing them by themselves, I think if you’re a musician or a DJ, you shouldn’t have to know how to express yourself in words… so all I do is try to promote them. From here to being an impresario is a long way.

Do you think Romania is a good environment for something like this (freelance impresario), especially for young antrepreneurs?

No, definitely not! Until you get to a floating point you have to tire yourself with side jobs to support yourself, or to get involved in a billion of little somethings to survive. Instead of torturing yourself into being an impresario, especially if you’re a young beginner, better do it as a hobby and have patience.
Would you like to transform yourself sooner or later in a record label? 

This would be an unbelievable dream, but I still have too much to learn for this, and I don’t know if I’ll have enough energy.

Is perception for events in other cities different than in Bucharest, if yes, how?

I can only imagine, that it’s not the same everywhere, but I haven’t been to other cities that often to have an oppinion. I’ve seen much better crowd in Cluj, people who truly appreciate the events and places where they happen, because they’re not yet oversaturated. In Bucharest, because there are so many events, people don’t pay that much attention to quality. People in other cities are more relaxed when they party than Bucharest, that is my perception, but if they want to catch the shows with the big names, they’ll have to come to Bucharest.

Besides hardcore groups, that each go to the events they like, Romanians are not used to pay, or pay too much for events, and honestly they don’t even drink that much (here I’m talking about social drinking to loosen up, not drinking to lose your mind). Some people, simply don’t have the money to do this, what do you think are the factors that impede this, and how could a “going out” culture be created, going out as a normal thing, not as a special event. Here I’m also talking about people understanding that the artist is not a hologram that appears when the crowd feels like it, to entertain them and that the artists need to eat as well and the gear that they need to perform does not grow on trees in their back gardens.

I think the most important element, regardless of money or the going out offer, or any social or cultural factor is the way you’ve been educated. I know families that would never go to theater, film, and the best social gathering they would attend to, most of the time by chance, would be going/stumbling upon somewhere in the weekend to some boring value less free event. When you grow up like this, it’s complicated to understand why beer at an event doesn’t cost the same as in the supermarket, or why do you have to pay to enter and have no passouts.

Dana Banana comes from?

Gojira used to smooch me like this, and this is what the kids were calling me when I was little, and I would come home with bruised knees. When I chose the admin name for the website, it felt natural…

Banana Society comes from?

Well… I was talking with Gojira again, and our best friend about a year ago or so? And I was looking for a name for what I’m trying to make. I would often hear about unfortunate incidents about the way artists are being represented and the way they are treated in the media, I also wanted to create a centralized spring for the all the content I generate. Obviously I don’t have enough time to focus on it, as I’d like to, considering, I’m juggling between festivals, events, my 4th Uni, and so on, but I’ve decided to build in time. This little online nook, this little cloud, needed to be called something, and I was thinking if everybody would be like me, everything would be so much nicer and better and positive, so more bananas, means a better society right?

And what do you do actually?

I’m studying to become a psihotherapist and in the meantime I also walk the dog, between a few events and the German classes I teach, and writing on the website, and writing on paper, stuff I’d never publish. I’m obsessed with music and I’m very naive, like I fall in love with guys based on their musical taste, and this is a truth that’s been going on since I was 14, that I’ve been admitting it in the last 2… I like to think that all the experience I’ve gathered on the axis time vs information only helps me to help others on a certain level and this is the motivational resort, that makes me do what I do, or at least I try.

How many beers can you handle until you’re wasted?

What does wasted mean? Wasted like typsy like 3 beers or wasted like walking aimlessly with sunglasses at 3am in Amzei Square… like half a liter of palinka (50%) and 3 beers on top? I’m not used to drink like that anymore and I’ve quit smoking about half a year ago, when I decided I was not at all the person I hoped to be at 23, in what concerns personal identification+activities+habits.

Your Dream is….

To have my children and my friends children run side by side in cute holidays, which we would have togheter after we get all the depravations, parties and time wasting activites in various desolate contexts out of our heads, and we won’t be running after professional or financial realization, and we would have enough focus and motivation to become completely mature and exercise our vital functions in ways that are truly constructive and enlightening. And besides this: just art.

What’s in your owen (or microwave) right now as far as plans?

I’ve just finished salmon with avocado and tomatoes and I rushed to read this until the end… I hope to finish soon an essay collection, but I’m not in a hurry. I’m in a place where I watch 2 films a day and I suck as much music as my ears can take. Let’s see where all this cerebral absorbtion leads to…

What 3 films and 3 songs the people who read this interview should watch/listen?

Well Brave,

because it’s an animation I watched with my best friend and it carressed our soul and we had a great laugh… Pixar is way better than Disney and this is basically a film, it’s very well written.


because it’s the natural continuation after Amores Perros și 21 Grams, made to make you cry for a reason and make you push yuourself beying your limits.

And now I can’t decide between

Le gamin au velo and La prima cosa bella…

because the tear I shed watching the first one, stays in my memory and the level of emotional turn I got on the day I went to watch it, but also the laughter I got with the second one… And I watched both with eaxctly the right person for the event!

As far as listening goes, do audiobooks count? If so, everybody should be able to recite from Eckhardt Tolle’s A New Earth!!! And if audiobooks don’t count, then yes, I’ve got 3 songs, but they are so personal from deep down inside, that I can’t believe I’m transcribing them on the notepad from my soul…

It would be Saint Germain – Sure Thing,

I can’t decide between:

Kazi Ploae – 13 ceruri

The XX – VCR

and Subcarpați – Atât de personal

I’ve scanned all the tunes that I’ve had on repeat lately and I can see, as usual it’s a chaotic mix, but I assune it happens to everyone who wash their ears with sound, but I know for sure what the 3rd track is:

Gojira – No more.

Sweet IDM times !

You can find Dana here:

© 33madspirals 2012. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.


Poetrip Interview

There is something New and Primordial, coming from The Depths of the Unconscious, that hasn’t been before in Romania, and it will come in bigger and bigger waves. I don’t think anybody truly realized what happened Saturday night in Londophone, the significance of the moment..

What you should know about this interview is that Poetrip got all the questions in one block, and as you can see, they’ve been chosen in a way, so that the interview develops freely.

Even if it looks like some of the questions have been asked after the previous answer it’s not the case.

What is Poetrip?

Stefan: Poetrip is our play with music. I’ve been reluctant to approach music, the musicians I admire are so many and their level so high, that it makes you wander who would want to listen to a tone deaf teddybear?…
Then I met Oana, and she was into it, after that other joined in.

Oana: A free form of self expression, a playful attempt to change people’s perspective of things, using humor and creativity.


Oana: Because writing was not enough for me anymore, I wanted to express myself in other ways. Broader, more universal.

Stefan: I tried analyzing myself, because I would’ve been disappointed of myself to discover that the reason I’m doing this is for “fame”, even if I don’t like to admit it. When I remember how I was fascinated by the piano keys, I calm myself down. I never had formal piano lessons, but I would spend hours exploring it’s sounds. Once I was visiting an aunt, that was living abroad, who was a modern music composer, my mom was a bit tired of my experiments, and she wanted to stop me from playing, but I heard my aunt Verona, saying that she liked it, that it reminded her of her husbands compositions. I see this as a comic event and don’t hold any other significance for it except that. But I know for sure that, that way of playing the piano is lost, unfortunately I can’t play like that today anymore. This is why I like to see someone who picks up the guitar for the first time, in that moment you can tell by the way of interaction with the strings, without really knowing what she/he is doing, if that person has something to say, regardless if they have an ear for music or not. Because right after they learn 2-3 chords, everything goes down the drain. There used to be a guy, Picasso that was fascinated by the drawings children would make and by cave paintings.

How’s life in Romania?

Oana: It’s unique, funny, sometimes touching, tiring and annoying sometimes. Like any country. 🙂

Stefan: I have never felt I had roots anywhere, but neither being trapped. That’s why I stayed in this country, there’s nowhere I can run from myself. I don’t see the world in political borders, so for this question to have sense for me, it would have to be “How’s life on earth?” how should it be? I don’t have any other terms to compare…

How’s life in Bucharest?

Stefan: I heard a lot of stories back in the depths of Moldavia where I come from, before I moved to Bucharest about 6 years ago, and to my surprise it’s not that bad.
In the meantime I’ve collected a stack of threat tickets from angry people because I used “their” parking space. Looking at the blocks of flats I see lots of mud huts, layered one on top of the other. I made lots of really good friends here, but I realized at a point that a lot of them are not from Bucharest.

Oana: After living a year and a half in Târgu Jiu, Bucharest seems chaotic and tiring, almost the same as the first day I came here and I was afraid to cross the street.


Oana: Anywhere we’re called.

Until when?

Oana: Until I get bored, but I doubt that I’m ever gonna get bored expressing myself.

How so?

Oana: I don’t really stop too often to wonder why…

What are you doing?

Oana: We’re waiting for the end of the world, when it will be revealed that we were right.

Why not the other way around?

Oana: You can always do it the other way around, I have nothing against it.

How many beers can you handle until you’re drunk?

Stefan: I don’t understand: sometimes I’m smashed from the first few sips, a high school kind of a beer buzz, other times I drink 4, 6, 8, 12, 20 beers a night and I’m still fine, only that I can’t stop although the beer doesn’t have any taste anymore.

Oana: I dunno, I haven’t gotten drunk from beer in a long time. I can tell you how many nails (joints) I can pound though: until the walls ain’t holding anymore.

Are you casting pearls on the swine, or with time they’re gonna become butterflies?

Stefan: Yes, we’re pouring pearls into the hod without any regrets, I dunno if the pigs are going to transform into butterflies, or maybe we will.

Oana: We throw it to the pigs as well, anybody deserves to enjoy pearls. I find it nasty to classify and decide who deserves and who doesn’t.

Poetrip is already a dream, what is Poetrip’s dream?

Oana: To be an as universal dream as possible and to encapsulate the essence of the essence. The essence of Man, a dream about what all people have in common.

Stefan: Poetrip’s dream is Poetrip’s nightmare, in the sense that we are trying to keep up. We have no idea where we are going, we’re ourselves surprised by the places Poetrip is leading us to. We started playing in the garage, and we’ve become something completely different. If you would’ve asked me 2 years ago to listen to some of the songs we’re playing now, I would’ve never thought we would get to this point. And we’re back to “why?”, because I listen to a ton of music, from John Zorn to Vector Lovers and from Blonde Redhead to Sufjan Stevens. Isn’t it a bit defiant to think that there is still something missing in this world? Maybe. Anyway, there is music all of the above are not playing, and I’d like to listen to it. That is the music that is left for us to play, that’s why Poetrip exists.

Could you name 3 songs that people who read this interview should listen to…

Emmanuel & the fear – jimme’s song

Matze – Unde este vulpea

Ataxia – Dust

© 33madspirals 2012. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.

Secuem – English Version

What does Secuem mean and where is it coming from?

“Secuem” is the result of various manglings between my name’s and surname’s initials, S and M. I played with these letters thinking what the options would be… I wanted something easy to pronounce, but something that you won’t immediately find on Google….
That’s how I got “Scum”, “Escuem”, “ESCM”, but neither sounded right..
Finally I went with “Secuem”. It was easy to pronounce, I felt it represented me and of course… I couldn’t find it on Google :))

It doesn’t mean anything it’s just, the letter “S” with (cu in Romanian) “M”

I saw you have more remixes (some of them impressive) than orgininal material on soundcloud; do you prefer/get more inspired to work on an already existing idea?

It’s true, there are several remixes there, some of them impressive, thank you, I like the way they sound, and how they’re crafted technically.

I get inspired by a lot of things, from the sound of the vacuum cleaner which over imposes itself over the sound of the neighbors power drill, to the gypsy woman outside screaming “I buuuuy booootleees” (happens in Romania). I don’t have a standard workflow for making a song or a remix, I try not to impose limits on myself, to be as free as possible. I like to make remixes as much as I like making my own music, the problem with my own music is that I haven’t yet found a formula, the missing piece, for them to be 100% complete and express my idea, the missing piece being a feminine voice to be precise, and until now I haven’t found it.

How did u get started with music?

I started by listening a lot, a whole lot, everywhere. When I was 8-9 years old I would listen during holidays in the country side: Modern Talking, Sandra, Sabrina, Italo Disco etc.

My first contact with the music that was about to mark me was at 11 years old, when I first heard World In My Eyes – Depeche Mode something clicked… Violator was the first album I bought, which I listened to endlessly and listened to second by second. I had no idea then what a cymbal, hihat, kick, synth, pad were, but I was listening to every single sound and tone from that album. To this day I think it’s a masterpiece.

I started making music myself around ’98, I had my first band with 4 friends. We were called “Baros” (Sledgehammer) and we were playing some kind of fuck off and die industrial electro rock, a lot of Nine Inch Nails influence. We loved what we were doing and we thought we owned the world. It lasted about 2 years, until it mellowed down and each of us went their own way.

How/where did you learn to produce?

I opened a DAW for the first time around ’98 as well, Cakewalk using a Pentium 2, I was doing the song structures for ”Baros”. Drums, Bass, pads, synth, pretty much everything. I would put them on tape and we would listen to it, everyone would have input, made lyrics and that’s how the songs were coming out, it was fun. I want to thank my friend Radu Marza, who showed me how to produce music on a computer.

I stopped arounf 2001, and didn’t start again until 2009, when I discovered Ableton (because of Radu again) and the Secuem story started. The difference between ’98 and 2009 was huge, it was much more simple, information travels differently, finding out things is much easier.

Since 2009 I’m trying to bring my ideas to life, remixes, own songs, etc. Sometimes it comes out exactly how I want it, sometimes not, but that’s how it goes.

Passion, relaxation, patience, a lot of work is what you need, ….the rest is silence 🙂

What is your instrument if you can say so?

My first musical instrument that I’ve put my hand on and managed to play was the guitar, these days I play the keyboards as well when I compose, but I can’t say I know how to play it…

So final answer guitar.

#6 What are your future plans?

I’ve met a lot of new, very interesting people since I’ve restarted making music, I’ve become friends with lots of them and we started “baking”, cooking ideas, concepts and directions connected to music. Besides my Secuem project I play samples, fx, looping, etc. in Viky Red’s live band.

For the future I see myself still making music, alongside my main craft which is Architecture.

As the philosopher says: “Without music, life would be a mistake”. I don’t see myself as a frontman in a band, maybe in the back somewhere, more like in the producer’s chair, in the studio, playing keys, guitar, making tracks, remixes, just like now, only on a bigger scale, it would have to be outside Romania, maybe Berlin or London 🙂

Name 3 tracks (anything by your own) who people that read this interview should listed to.

Yeaaah, I would name 3 bilion tracks that inspired me and got into my bones, I won’t name classic tracks like Depeche, Nin and others, we all know and love those, they are living legends that made history.

I propose 3 tracks that I found by accident when I listened to them, and even if the earth would be burning I would still have stayed and listened to them to the end

1. Phantogram – When I’m Small

2. Miike Snow – Black & Blue

3. Justice – DVNO

You can find Secuem here:

© 33madspirals 2012. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.

Alin Zabrauteanu – Jazzadezz

Alin Zabrauteanu is one of the 3 members that make-up Jazzadezz, he is the guitarist/keyboard player/composer/producer.

Below you have a very interesting and insightful interview with him.

How do you feel is the public percieving Jazzadezz?

I like to think that anybody finds it interesting from the first listening, be it because they haven’t heard such a musical combination before, because they’re confuzed if it’s jazz or not, or simply because it sounds melodic and pleasant. You can understand that we’re not playing jazz and we’re not looking to be a niche group. We don’t seek our audience, although we would like to filter it with a certain kind of subtelty.

Through the atmosphere we create we want to bring a certain dreamy mystical air, which materializes even more when we play live, where the visuals have to be on par with the music. For the future we would like to fuse Vali Chinchisan’s visuals with scenic movement, lights and some proper costumes, to manifest this though you need the proper space.

What is Jazzadez’s creative process?

We don’t have a set formula and try to avoid this as much as possible. The Inimani Mal album has a peculiar story and the production process for it was somewhat different from what we are doing now. All the songs were composed for voice and guitar, after that, we did a different arrangement in the studio and Calin came in with his wind instruments and played over that. The songs came together and with our first album, we looked for our own sound . We found some elements that define us foremost as people, and secondly maybe as artists. It’s with these elements that we went forward, under various forms.

We don’t get stuck on a certain sound, and we are always looking for something new, but something that represents us.

Currently we are working on a new album, this one is much more clear and direct, much more flowing and dynamic; we start with improvisations, instrumental parts that give Dezdemona much more freedom, on top of which Calin brings color and substance with the wind instruments. We wil also have a few instrumental pieces where each one of us can spread better the energy they want to transmit. For the new album, we have a concept that helps us a lot and gives us equilibrium during the creative process, however I would like to talk about this when the album is finished.

A lot of Romanian artists don’t have a label and prefer to promote themselves. Do you think it’s a choice or a necesity for keeping intact the artistic integrity?

Labels as we know them have been in a coma for a while. They live off those artists that play on the radio in taxis, construction sites, tv’s, or beauty salons… They offer products that can be looped without disturbing or straining the mases. For the rest of us, there is the internet and maybe the internet labels that may give you a little extra, promotion wise. To be independent is a solution, but you need to have some marketing knowledge, especially online marketing. If you music is on all the important websites and you have reviews on the blogs that matter, you can function as an independent artist.

You have a PayPal button on your website, do your visitors use this button, do they pay your for the free album that you offer as a download?

We do have a PayPal button, but I don’t think I has been pressed too many times, in the end we give the album away for free so people pay for it only if they want to.

Donate and Share!

Tell me a few things about your theater music/sound design projects.

Theater music is fascinating and unfortunately an overlooked domain in Romania. I am currently doing a Sound and Light Master degree at UNATC. Sound is still regarded as pheripheral in Romanian theater productions, although it has a major dramatic impact. Sound design wise, theater is a very fertile medium, sometimes when performing on stage as a musician you ask yourself what are you doing there. Theater sound design is much more comfortable, it is truly rewarding to notice the influence sound has over the show’s timeline. It is truly admirable what Vlaicu Goicea does in this area, I would like to hear something like Makunouchi Bento in theater. At the moment I’m working with the Turet theater group on a multimedia show called “Cristina and Me”, that is going to come out in spring and sound plays a major role in it.

How do you aproach theater sound and what set-up do you use?

I use Ableton Live and M-Audio Tigger Finger. With this kind of software the soundscape can be almost limitless, on top of the pre estabished samples you can very easily use a lot of live effects, with minimum resources. There is a need at the moment for directors to understand the dramatic potential and possibilities of this set-up and embrace it, and not constrain themselves to some burned cd with music downloaded off the net, many times using it just at the end of the show, or if we talk about lights, just to have the lights on actors faces.

The actor is of course the main ingredient in a show, but the multimedia part must be treated with the attention it deserves.

The music I compose is usually custom taylored for each show, however theater music and sound design are obviously two different things. When you do sound design, you integrate the music in all of the soundscape, even when I’m using a classic piece, I try to fit it in as perfectly as possible remixing it with the appropriate effects; I hope directrs will understand how ridiculous is to keep using Queen as the soundtrack to a show.

Where necesity demands it, I do field recordings to get my sounds, at the moment I’m working on a one hour long multimedia piece called “Cristina and Me”, together with the independent theater group Turet, a character on the stage, a VJ and me doing audio. All three of us are involved from start to finish, so it’s a big challenge. To prepare such a performance you need field recording, sampling, composed music, plus the live part where all of these come together, the process is totally different to composing music. Theater is a very fertile medium, creative wise, I would say even more than sound for film, and if you have a live part in the show, you’re pretty much guaranteed to be in for a great ride.

What do you think it’s missing in Romania at the moment, for an explosion of the local talent to take place?

I don’t think there is anything missing. We have all the resources we need, except maybe a few more proper spaces, for creativity we have all we need.

Why then do you think, an explosion of local talent and creativity is not taking place?

As I’ve told you, I think Romania has all the conditions for local creativity to flourish, there is a lot of space available and it only depends on the artists. A lot of them say that they would have fared better outside Romania. The problem is if they are not doing anything here, where the marked is not so saturated, then what are they going to do in England for example where there are a lot of artists and really good ones too… or if it’s not working here, why don’t they have any kind of feedback from overseas?… I don’t know.. I think there is too much procrastination and frustration and too little focus on producing quality things that represent the artist that is making them.

You can listen and learn more about Alin and Jazzadez @:

© 33madspirals 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.

The Loop – Pip Jamieson Interview

The Loop is a new Australian website advertising creative jobs only. It has been started by Matt Fayle & Pip Jamieson.
Pip takes us inside The Loop with the words to follow.

There are 3 people listed on the website as staff for the Loop, how many people are actually working at the Loop?

Too funny, you’ve just prompted me to update that section. The Loop family now consists of four permanent staff. Matt & I, our right hand woman Marie, and our genius web developer, Asanka. Two incredible designers, Robbie and Sam, and our intern Jess make up the rest of the team.

How did you convince all the companies that advertise jobs on your website to sign up with you?

In the early days building a base of partners and clients wasn’t easy. Matt and I used to work at MTV and we’d been spoilt leveraging a high profile brand. I used to pick up the phone and say “Hi, I’m Pip from MTV”, which provided instant attention and credibility. “Hi, I’m Pip from The Loop” went down like a lead balloon. However, as time has gone by and more people hear about the site, and brands have rallied round us. I guess they just got sick of using sites like Seek; they seem to love using us because it works.

You’ve just done a major overhaul on the Loop, how is that coming along?

Yeah about two months ago we launched News Feeds, which allow people and companies to follow profiles that inspire them from across the site. It’s a great way to keep in the loop, (he he sorry couldn’t resist) on all the great work and jobs being uploaded to the site. People can also comment on and like peoples work.

Since launch our site stats have gone off and it’s been magic watching the micro communities form across the site.

Saying that, we’re already onto the next phase of development – no rest for the wicked I guess. You’ll start noticing some big improvements rolling out over the coming month including improving our job section so it’s easier for companies to post freelance jobs, project based work and internships. Also, people (as well as companies) will be able to post opportunities to the site. For example if someone needs a photographer to shoot their production, or a producer needs a cameraman for a day, they’ll be able to post it on the site.

What would you advise a person who has just made an account on the Loop to do, so that they can make the most of it?

I think it’s important to only upload those pieces of work that you’re most proud of. Sometimes I see some incredible pieces of work, surrounded by sea of profile filling content. I think in some cases less is more.

It’s also a good idea to choose your profile image wisely. Low resolution or social photos of partying won’t land you that dream job. Choosing an image that is professional but approachable or even using a piece of work as the profile image is a great way to go!

Most importantly people will get the most of out the site by being active in the community, making contacts, following people/companies and setting up job alerts. That’s the magic bit about the site – in many cases that dream opportunity is only a click away!

Is there something that the Loop users could do, that they are not doing, that could improve the Loop?

I’m sure some people are doing this already but including a link to your loop profile their CV when applying for jobs would not only help employers quickly and easily check out their work, but would also help companies discover The Loop. Win, win!

Will the Loop ever develop into a social network side, as opposed to strictly being a job site?

Yeah absolutely! For us the vision for the site is to help our community tap into a myriad of opportunities – not just jobs – including fostering more collaborations, networking opportunities, helping people discover events, courses, workshops, and discuss work related issues etc.

However, we will always focus on being a professional creative network, not a social one. More like a sexy, industry-relevant LinkedIn than a Facebook.

Is there going to be a section on the Loop where members can advertise jobs between themselves, straight from their profile; like somebody is making a film, or somebody has dropped out of a project and they need somebody quick, just like a noticeboard in a school or in a backpackers.?

Great minds think alike. Yes this functionality is currently in development and will be launching in the coming month. Yay!

I noticed a lack of production jobs, not only on the Loop, but in Sydney and the whole of Australia in general, nobody is looking for directors, cameramen, sound engineers, photographers, what would be your explanation be in regards to this?, because I can’t imagine that fresh images and sounds are not needed…

Yeah I agree there’s always demand for fresh amazing content and talent. It’s just been incredibly hard for companies to quickly and easily find that perfect person. Putting an Ad on a site like Seek is a total headache for companies, as they get inundated with irrelevant applications. Also, the time and energy involved with collating and short-listing showreels has meant it’s been far easier for companies to fill positions through word of mouth. Approximately 95% of creative jobs never get advertised, which means if you didn’t go to the right uni or have a friend working at a great company, it’s hard to get your foot in the door. Which is sad.

However, The Loop is starting to change this, as the site gives employers an affordable and time efficient platform that they can use to search for and identify perfect candidates. At the moment something like 30% of the jobs on The Loop don’t get advertised anywhere else, opening up more opportunities to ALL talented creatives.

What is one thing that you can’t go through your day without? (you can’t answer phone, computer, internet, cigarettes or coffee)

Checking the “recently updated” section on The Loop, sad but true, I just can’t help myself. I even checked it on Christmas day, as did 2000 other people. Which kinda blew me away!

On the website’s contact page Pip is described as a cackler. Is that a skill or a fault? How do you use that?

Hmm skill or fault! Now that is a good questions. I think it totally depends who you’re talking to. My laugh is pretty distinctive. My husband says it’s like marmite, you either love it or hate it. Luckily he and Matt love it, phew!

Where is the Loop heading?

For us it’s all about improving the site so it’s even easier for creative professionals to land that dream job, client, collaborator or opportunity. We want the site to become a hub of all creative opportunities, not just jobs. And with a huge amount of new functionality already in the pipeline, it’s going to be one hell of exciting year. I can hardly wait!

To visit the loop, click below.

© 33madspirals 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.

The Thylacines

The Thylacines are John Wineberg, Dan Castro and Jason Moresby, a Sydney based psychedelic blues band that sound like… like… well, better go to their MySpace page and listen 🙂

Here is a bit about The Thylacines through the words of John Wineberg.

Can you tell the story of forming the Thylacines?

When I came to Australia in October 2009 it was vey hard finding musicians to jam with. I had posted ads everywhere online but nothing happened. 6 months down the line i caught an ad only 15 mins old, posted on Gumtree for a drummer and bassist looking for a guitarist/singer. I jumped on it and met up with Jason (drummer) to chat and arrange a jam. We clicked straight away and knew that this was gona work out. Its sounded awesome from the 1234….

How did you decide on the name of Thylacines?

Dan, our bassist is a very smart guy, he came up with it and he’s from Barcelona.

Have you ever been to Tasmania?

I haven’t personally been to Tasmania, but Dan has been, and Jason was born in Tassie and grew up there.

You did play for a number of years in the UK, you are in Australia for less than a year and you are already playing the Annandale and having a meeting with Sony Music, do you think stars are aligned better Down Under for you?

I had a good feeling about my move to Australia. People are a lot more open minded to different music styles here. The UK follows more trends and If you don’t look and sound like last weeks band nobody wants to know you. I’m excited about being a part of the OZ music scene.

How do you find the live music scene in Sydney?

Like anywhere, Sydney has its good and bad but when they are good they kick ass. I’ve seen some great bands over the last year in Sydney.

Is the trio the best configuration for the Thylacines or you’re looking to expand the band, maybe with another guitar player or a keyboard player?

We love the fact that we play in a 3 piece band, and we gel together so well, but there have been talks of an organ player, maybe just for some recordings.

What do you think of internet piracy?

It’s always a hard one to answer really. I personally buy all of my music from music stores or ITunes. I see the point in complaints if everyone was doing it, but most people still like to collect. I don’t mind all that much if people download some of my tunes, they’ll only spread the word. Too many artists are in it for the big bucks.

You have recently met or will be meeting with Sony Music, can you share something about that?

We did recently meet up with someone at Sony, but for now I would like to keep that under the cuff.

You just recorded 4 songs, where did you do it and how did that go?

We did just record 4 tracks. It was the first recording with the band and it went really well. Its nice to work alongside experienced musicians.

What are your influences as a vocalist, guitarist and overall musician?

I have so many different influences in music, but vocally Howlin’ Wolf is the most influentual. I was brought up listening to bands like Cream, Led Zep, Jimi Hendrix Experience, Pink Floyd from a very young age, I have my uncle to thank for that. I do also love Syd Barrets Pink Floyd a lot. 🙂

Are you going to Wembley in November?, can you give us some details?

Wembley was a joke by our very funny drummer, but who knows might happen.

You can listen, find out live dates and learn more about The Thylacines on their MySpace page here:

© 33madspirals 2010. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.


cubisteffects, is a custom pedal shop in Sydney, Christian Moraga is the man behind the cube, and below is a little story.
(photos courtesy of Will Reichelt)

Hi there, Christian, what does cubisteffects do?

cubisteffects is a custom-shop, of sorts, for effects pedals. I repair broken down pedals, modify off-the-shelf stock pedals to whatever a customer is looking for. I circuit bend pedals to give musicians something outside of the box, and I make custom pedals for whatever needs a musician may have.

How and why did you decide to start cubisteffects?

I started this more as an extension of a hobby really. I was doing these for myself, then friends, then friends of friends, and realized this is something that no-one is really offering as a service in Australia. It started from scratch, with a lot of self-investment in time and money, but it has been nice to watch it grow.

What is the difference between circuit bending and a mod?

I tend to describe the differences with an analogy of the brain. Modifications are left-sided; they are very analytical, involving calculated changes to the circuit, to produce a variance of signal that is measured in resistance and capacitance to provide a different frequency spectrum from the initial product. Circuit-bends are right-sided; spontaneous, erratic, fueled by complete chaos and creativity to produce an unexpected and unique sound/noise. Modifications are aimed to improve on the quality of the audio signal whereas circuit-bends tend to destroy the signal with oscillations, feedback and/or white noise.

What is the most weird request you got for a mod or a pedal?

That’s the good thing about circuit bends – nothing is weird!

Is cubisteffects enough to make a living?

Unfortunately not at this stage. I have been taking on more international orders from Europe, Asia and the US, but the distance between increases cost dramatically. This only the first phase of cubisteffects, so if the stars align correctly, I hope to make a living from it.

How do you see the Australian musical environment at the moment from the point of view of a pedal builder?

Doing both mods and bends for people I come across a wide range of musicians, from guys bashing out covers in pubs on the weekends, to table-top experimental performers. Alos, having been a participant in some way in the Biennale of Sydney and “This Is Not Art” in Newcastle, I have met and seen a lot of talented musicians that are outside of the mainstream eye. This side of Australian music is very inspiring and something we can be proud of, and would be great to see it supported by the industry more.

Do you get requests for pedal mods from other kind of customers than the obvious ones? (other than guitarists/bassists/keyboardists; like buskers, trumpet players, etc.)

Yes, I have modded a synth pedal for a cellist, made a noise delay for an experimental vocalist, built a fuzz for a violinist… That has been a cool part of the job – seeing how far people can push music using effects pedals.

How do you translate “I want my pedal to sound more like that” into transistors and wires and capacitors? When you get a request, do you have an instant mental image or feeling of “I need this and that component to make it sound like that, and wire it in this way”?

An image or idea pretty much comes straight away and I’ll go from there. A lot of it comes down to knowing your product. I can’t spend enough time researching other designs, hearing different types of music, playing with different types of instruments so I can have knowledge to tackle any request. If someone asks for a pedal that sounds like glass breaking, or sounds like a thunderstorm, it allows me to be creative and come up with something by gathering pieces of ideas and forming them into one. After awhile, it takes its own form and can be something inspiring. I prefer these kind of jobs instead of “I want the sound this guitarist gets in this song”. That kind of mentality will never produce something unique. The origin of that sound was probably taken by the musician taking a risk and a sidestep in context of the recording. These tend to be the memorable musical moments.

How do you envision cubisteffects in the future?

I hope it continues to grow and be a brand that is respected and liked. I have a few goals I would like to accomplish and hope to live and work overseas for awhile. I would like for it to mesh with visual artists in the community, and collaborate on a level that would make a product not only sound good, but look great in its own unique way.

Are you going to expand into tube amps, recording preamps and rack studio effects?

I have been obsessed with modular synths of late and would like to expand it to there first. I have made a few simple synths (with oscillators, filters, envelopes etc) and sold them to happy performers, and am working on making different modules and making a simple instrument that can also effect a signal as well.

Do you have any ideas for the use of pedals that is currently not being done by musicians, or non-musicians?

The ability to “play” circuit bent pedals interests me, and seeing the potential and similarity between these sounds and modular synths could be an interesting route for performance. Using pedals to manipulate a simple sound source to create an improvised, flowing, wall-of-noise would be fantastic to see!

You can access the cubisteffects website here, in all it’s quirkiness and goodness:

To see more cubist photos by Will Reichelt go here:

© 33madspirals 2010. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.