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B(if)tek

B(if)tek were among Australia’s state-of-the-art electronic acts. Within the Clan Analogue musician’s collective, which also included famous brands Itch-E & Scratch-E, Dark Network, and Infusion, they made experimental music that was futuristic and vintage at exactly the same time. The duo contains Kate Crawford (aka k8), and Nicole Skeltys (aka single-cell), who defined themselves as the Daphne and Velma of electronica. Their prankish, playful quality described their music; these were known for putting on strange outfits, breaking into giggles, and taking in champagne throughout their sets. In addition they famously were able to obtain a give from your Arts Council of Australia to review the consequences of low frequencies on listeners, that they achieved by liberating a double recording of minimalist dance music. In 1996, both tech-heads of B(if)tek released their 1st recording Sub-Vocal Theme Recreation area, stated in a Canberra garage area and released by using the appropriately called indie label Geekgirl. Soon afterwards both moved aside, Crawford going north to Sydney while Skeltys proceeded to go south to Melbourne. They continuing collaborating by sending DAT tapes through the email. The effect was their next recording 2020, released within the Sony imprint label Murmur in 2000. They find the yr 2020 as the entire year they thought a manned objective to Mars will be feasible and conceived the recording like a potential soundtrack for the astronauts of such a voyage to hear. Among the tunes was a cover of Cliff Richard’s “Wired for Audio” with visitor vocals by Julee Luxury cruise. Years later on, in 2008, Crawford will be invited towards the Australia 2020 Summit to go over shaping the country’s long term, though admittedly in her capability as a co-employee teacher of journalism and mass media analysis. From 2000 to 2003 the duo known as themselves the B(if)tek Company and presented awards for subversive digital acts known as the WINK Awards. Their very own action of subversion was to make use of their arts council offer to invest in their 2003 dual record, Frequencies Will Move Jointly, that they released independently Subvocal label. The monitors over the initial disc had been all documented at low frequencies and used found-sound textures like the sounds of felines purring and helicopter cutting blades rotating. At 1 of 2 sold-out concerts kept on the Sydney Opera Home they performed an 11-minute sub-bass melody that reputedly healed an market member’s tinnitus. The next disc included remixes from the initial by performers including Structures in Helsinki and Monolake. After touring for Frequencies Will Move Jointly, Crawford and Skeltys proceeded to go their separate methods. Crawford became a member of another electronic action called Clone and in addition pursued her educational career. Skeltys continuing producing electronica beneath the name Artificial before radically swerving in the additional direction by becoming a member of a nation/folk band known as Dust.

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