One of Australia‘s first wave of techno DJs, Biz is a key player in the evolution of the country’s electronic music scene since the late 80’s.
He has helped shape the Sydney techno scene immeasurably having run three import record stores and compiled releases for labels such as Force Inc and Detroit’s Submerge imprint. Biz also promoted the legendary Flash parties that introduced Sydney to the legendary Techno artists of Detroit and also ran Chinese Laundry’s Tech-Ni-Cal club which was one of the southern hemisphere’s leading techno clubs.
As a producer Biz has worked with some of the world’s techno greats with releases on Christian Smith’s Tronic label, Laurent Garnier’s COD3QR, Transmat, Exalt, Get Physical and English labels such as Further Electronix. A list supporters include Dave Clarke, Goldie, Laurent Garnier, Darren Emerson and Extrawelt.
We catch up with Biz as his new “Monozukuri EP” is released on Colin Dale’s Abstrakt Dance label…
Hey Biz it’s great to catch up with you in Sydney, Australia, and how’s the electronic & techno music scene there in terms of clubs, radio etc and does your hometown inspire your music?
Living in Sydney from a young age and being a part of the rave/club scene from its conception has given me the opportunity to see it grow and evolve. The early days were incredibly exciting and underground. Obviously, like everything, it’s changed considerably since then. It is still alive and thriving and although I don’t live there now, I get regularly invited to DJ at events and I always enjoy cruising the record stores! As far as my creativity goes I feel inspired by my beautiful natural environment, which is currently Bellingen, an alternative and buzzing town located 6 hours North of Sydney. Of course my life experiences in the last few years have also played a huge part in this journey.
You’re about to release your new “Monozukiri EP” and for those that don’t know your music how would you describe it in terms of sounds etc?
I would describe this new EP as having a tuff, driving bottom end layered with textures that are reminiscent of Plaid’s playful melodies and the ethereal ambience of Aphex Twin.
You’ve also released on Christian Smith’s Tronic label, Get Physical, Laurent Garnier’s COD3QR, Transmat, Exalt and English labels such as Further Electronix, and do you have a favourite release in your catalogue and what’s it so special?
My favourite is the Kenny Everett “Cupid Stunts EP” released on Exalt because it has a real cerebral intensity that I really enjoy. No one knows it’s me(oops!), plus it’s on pink vinyl!
When did you start making music and who and what were your early inspirations?
I started experimenting in production in 1993. At that time I was a rave DJ in the Sydney scene. My early inspirations were as diverse as UR, Black Dog, Shut Up and Dance through to Mickey Finn.
What is your most memorable studio session and where was it and which track felt the most exciting while in the process of making it?
The track that I felt the most excited making was 25 years ago. It was a track called “Plethora” which I made after coming back from Bondi Beach one hot summer’s day. It took me a whopping thirty minutes to produce. It was licensed to Trans Europe Express soon after under my pseudonym Calix.
One of the original purveyors of electronic music in Australia, how did you first get into the house/techno scene and can you tell us about the early days of the scene as you experienced it?
In the mid 80’s because I was half Greek, I tended to hang out with other non Australians. This led me to discover early funk, hip hop and electro. Turntables were a big part of that. In the late 80’s in Sydney the gay scene started thowing big parties called Rat parties where I first experienced house, acid, and early techno music. This was a very exciting time and there’s no doubt in my mind that Sydney really caught that early wave of rave culture. It was mind-blowing and as a teenager living in a country where white Aussie rock in the pub was the norm, it was a welcomed revelation and it created that sense of belonging that we didn’t previously have.
What was your first big break and what did it lead on to?
My first gig opportunity was at a club called Spagos in 1989. The music policy was Chicago and the sounds of acid house. One night whilst I was in the club, the DJ called in sick and the owner who was a family friend asked me to step in for the 4-6am set. My buddy and I rushed home, packed my records, had a tablespoon of instant coffee and off we went. A few people there heard me play and I quickly gained more gigs in the scene. Soon after I started getting involved in the early warehouse parties as I was living with a guy called Sugar Ray who was one of Sydney’s first rave promoters.
You went on to co-promote the legendary Flash parties, events that introduced Sydney to the pioneering artists of Detroit touring greats such as Derrick May, Juan Atkins, Carl Craig, Claude Young, DJ Godfather and DJ Rolando. Why did the Detroit sound and its artists strike such a chord with you and how did you first contact them and bring them over to Australia?
My father was a cellist in the Sydney Symphony Orchestra and before I discovered turntables I played the cello. At the time of learning the cello, I wasn’t really that inspired due to feeling boxed in by the structured tradition of classical music. I was looking for something more innovative and aligned with my youthful energy. When I heard the string sounds of early Detroit music, that was a defining moment as I realised the connection between my classical training and the composition possibilities that electronc music offered. From the beginning my music has always had emotive and melodic overtones. Later I was fortunate enough to meet Derrick May through my friend Richard Marr in Melbourne and I brought him out for his first Sydney gig in 1998.
What are some of the most memorable events you can recall from the Flash parties and what makes them so special for you?
One of my favourite memories is the Detroit Allstars event which happened in 1999. In one room we had fat house vibes with Carl Craig playing Live and he actually posted a video of this moment recently on his Instagram feed, which took me right back. In the other room we had tough techno with Claude Young in the mix. Claude was in fine form and is one of my all-time favourite DJs. 1,200 people were there that night and the atmosphere was electric…no one wanted the night to end.
You also ran Chinese Laundry’s club night Technikal for two years which was the southern hemisphere’s equivalent to Berlin’s Tresor, and again what artists did you play alongside and what were the most memorable nights?
The list is endless which is great to think what we managed to curate back then. Some of the highlights are sets from Ben Sims , DJ Assault, K Hand and Oliver Ho. New Year’s Eve 2002 was a real banger as Heiko Laux DJ-ed and Alexander Kowalski played Live. Such goodtimes…
As well as DJ-ing, producing promoting, you have also run three record stores over the last two decades, and can you tell us a bit about each shop and how they fit into the story of house and techno music in Australia?
The first record store I got involved with was in 1993. It was a franchise in Australia called Central Station Records and it was in Darlinghurst, Sydney. In the late 80’s it was one of the major vinyl outlets but as the 90’s began its focus changed to selling CD’s to more of the city’s gay DJs. I very quickly started a shop in the basement called Hardwax. The room was full of fire hydrant pipes and had a very underground atmosphere. Because Central was a big store, I had a lot of buying power, which meant I could buy a lot of records focusing on Detroit techno and the innovative Dutch techno sound that was emerging. After four years I left the shop and moved to BPM.
BPM, was a record store in the same area. It was a lot more niche and very proactive in the harder techno, drum and bass scenes. I stayed there for three years.
The next one was called Machinemusik and this was my own store that I ran with a friend of mine. As with all the stores mentioned, my passion for the Detroit sound was the driving force. These shops were an outlet for me to share the gospel with others. It lasted for three years but in 2007 we shut up shop due to MP3’s becoming more prevalent. Within a year twelve record shops closed in the area.
Who are your major musical influences and how have they informed your music making?
Four names that come to mind are Terrace, Mad MIke, Plaid and Richard James. Terrace of Djax UpBeats fame influenced me with his twisted melancholy compositions. Mad Mike(UR) for his ability to combine hard-edged electronics with uplifting gospel. Plaid for being the best heart-felt composers on the planet and Richard for just being a freak. 
What was the first House/techno record you ever heard and who clued you up to House music and when?
The first house record I bought was in 1988 and it was “Work It To The Bone” by LNR. Being at the Rat parties in 1987/88 was the first taste of this new sound…
What was it like growing up in Australia in terms of clubbing, big records and classic moments you can share with us? Do you have a favourite memory and tune of that time?
Highlights for me were seeing Carl Cox play in 1991 at Bondi Hotel and then later playing with him a number of times. One night while playing with Carl, after the set I was hanging with him and DJ Phantasy in a van outside the warehouse, smoking whilst the van was shaking from the sub-bass. He gave me his white label promo of “Far Out” by Sons Of A Loop Da Loop Era aka Danny Breakzs that night.
Playing with Sasha who couldn’t stop talking about my sister who was in “Home and Away “ as he had a crush on her at the time. Supporting Aphex Twin in 1993 and smoking bongs at my place whilst he stroked my cat and we talked tank warfare. Taking UR’s Robert Hood and Alan Oldham to a bush doof outside Sydney and getting lost in the bush at 2am. On the way there I introduced the UR crew to the music of Blackdog while Mad Mike talked about the spirituality of Apache culture. And finally supporting Jeff Mills 5 times…I’ll stop here 🙂
2024 sees you as busy as ever and talk us through your year so far in terms of tracks and highlights.
I am really appreciative of Colin Dale’s support for my work and excited to do this project with him. I have been a big fan of Colin and his early shows since his first “Outer Limits” shows in the 90’s. I think I came across his work back in 1995 and I have big respect for his radio shows. I have just finished an EP on Xistence out of Dublin with Phil Robertson. Looking at doing another project with Laurent Garnier soon. I have just come back from Europe with two of my daughters which was a reconnaissance trip, back to my Greek/Turkish roots and it was great seeing my records in stores like Hardwax in Berlin.
*****
The “Monozukuri EP” from Biz is out now on Abstrakt Dance Records.
https://soundcloud.com/djcolindale/sets/biz-monosukuri-ep-promo
https://www.instagram.com/colindale/
