2016 is a remarkable time for the Australian music industry. Electronic music in particular is not only expanding and achieving recognition on an international level, but it’s building and thriving at a tremendous rate in our own backyards. Along with a seemingly endless stream of exciting, diverse new artists, more and more small scale labels are developing and growing, cultivating a really exciting micro-community of niche artists and releases.
Plastic World have been around for three years now. Founded by James McInnes and Vic Edirisinghe, the (almost) vinyl-only label have been working with artists including GL, Retiree, Cassius Select, Alba and many more.
The pair of lifelong friends didn’t exactly fall into it backwards; they each brought a wealth of experience, ideas, understanding, and contacts to the table, allowing the label to flourish early on. McInnes formerly worked with Future Classic, the label for bringing names like Flume and Chet Faker to international attention, while Edirisinghe is a founder of touring and management company Astral People, responsible for some of the best events, tours and festival stages in the country.
“We’ve known each other for years,” says Vic, “and one day we just got talking, and we were like, how good would it be to do a vinyl record label, to fulfil our passion for vinyl and Australian music? And thus Plastic World was born.
“The whole ethos of the label was to champion Australian electronic music, but to also have an eye toward how to build these artists to a global platform. When we started, we didn’t think we’d want to be this home for artists to do release after release like all the big artists. We’re experienced in marketing and PR, and we wanted to use the label as an avenue to promote these young artists.”
The interesting thing about Plastic World is that it sees itself as a gateway. Many of its releases are that artist’s first release ever, but the label are more interested in being the first step, not the long term relationship. “We want to be that building block before the artist goes on to the bigger labels,” Vic explains.
Plastic World are paving a small, but sturdy road throughout a scene which is bigger and brighter than ever. “I think right now, Australian electronic music is at the best stage it’s ever been, and that’s not just here, but all over the world,” says Vic. “To see the standard being raised every single month in this country is amazing for me to witness. Before, it was this unique underground DIY mentality. Now you’ve got so many people doing it, and at such a high quality, that it’s forcing competitiveness in electronic music, the quality is forced to go up and up and up.”
When it comes to knowing which artists to work with, they just know. “If we like it, we’ll know, and if we both get that same feeling, off we go.”
“I remember when James first sent me the Retiree demos. In about 20 seconds I remember, vividly, my email back was “Fuck yes, sign sign sign, and I’ve only heard a couple of rough snippets. When I received the first GL demo, James was like, sign sign sign. We connect on a musical level, we respect and understand each others’ tastes. If we’re both psyched on it, we’ll do it.
Plastic World has come a long way in three years. Although many of the conversations that started Plastic World were those brought over from Future Classic, their first real milestones were overseeing releases from start to end, the first of which was Alba’s Knokke. James recalls, “Doing the process start to finish – finding and signing a new band, bring out a record, getting remixes, doing artwork and video clips.”
On a more philosophical level, Vic believes that “the most rewarding part of this has been learning so many lessons. You learn lessons very very quickly, and you can see why labels come in and out of the market so quickly, especially with something like vinyl where you’re making a physical product. We learnt those lessons really quickly, we adjusted, we made sure that we were always able to keep above water. It’s just been so amazing to learn from these mistakes, use these releases as trial and error.”
One of the main lessons they’ve learned is that there’s no “perfect method” to a release. Every artist, every style of music, every song, pertains to a different style and format of release. It’s a challenge sure, but it’s what keeps it exciting for them – to personalise each release, to give them a personal treatment. “It’s organic,” says James. “Every artist, release, record is completely different.”
It’s not only their hands on approach, but an intentional diversity that separates Plastic World from other small vinyl labels, many of whom choose to focus on a specific style or genre. “For every pop release we do, there’s a 12” dance release, so you’ve gotta switch hats.”
“We were doing that purposely to test people and to test people into thinking about good Australian music and good electronic music. And I think it makes people pay attention to us more because they want to see what we’re doing next. I’d love to do an ambient record, or a metal record. It’d be a curve ball!”
Plastic World have just put out their very first compilation, a similarly widespread selection of some of the best artists Australia has to offer. “The compilation is designed to capture what the label is truly about,” says Vic. “You don’t have to be a label that focuses on one thing. As long as the art and the releases and the vibe stays consistent, people will connect with it. And hopefully we can introduce people to something new, we’d love for someone to pick up a Thomas William record because they like Retiree, and to discover the world where he’s from. The whole label is about discovery and really pushing that aspect of listening to music, not being like, “No! We only listen to house and techno from the back of the club. “
“Because we are the most isolated country in the world, we’re not as easily influence d by trends. I went to Berlin, I wanted to see something different, to learn all about what electronic music is all about. The funny this is, is that what I found out is how lucky we are in Australia. Any bar I went to, any club, it the same 4/4 house, techno, minimal vibe – and don’t get me wrong, I love that stuff, but if you come here, you might have BV on one night or a Roland Tings show or Flume at the Opera House, Jagwar Ma, it’s just so diverse, there’s so many different reiterations of electronic music. It’s so exciting to be from Sydney, you don’t have to be in one pocket.”
The Plastic World niche is that they release vinyl only (well, except for the compilation). This came out of a deep love and respect for the medium, which has remarkably stood the test of time and technology to continue as one of music’s favourites.
“We both buy and collect a lot of vinyl,” James explains. It’s just a really nice tactile way to listen to music, to share it with people.
“The thing with vinyl is it’s incredibly frustrating, incredibly expensive, it would blow us out for five years and probably bankrupt us, it’s a real headache. But, we both just love the medium. As soon as we’re pressing something to it, we know it’s the bee’s knees. You want people to hold on to it, we want it to be in collections for ten years, we want people to find it at garage sales, to live longer than a stream on Soundcloud or a Spotify suggestion.”
“It’s stuck for one reason and one reason only,” says Vic. “Sound quality.
GL on wax. Image: Plastic World
“I go on my phone and I just have a whole album on phone, an album that’s taken years to make. I don’t wanna go and listen start to finish, I’ll listen to one track, get my fix and then I’ll go on to another album and get my fix there too. With vinyl, you’ll put it on from start to finish and it’s this beautiful thing. We’re so excited to be able to promote that medium.”
As for the compilation, while it isn’t getting a vinyl release, there’s a special story behind it. “We were sitting down, we picked all these songs, figuring out a track list,” tells James. “It was that time when all the venues were closing down, lockouts had kicked in. We were listening to these tracks and we realised there’s a story to tell.”
The track list of the compilation is supposed to carry you through a day, an experience of “our day and night in Sydney.”
“If you go from the start, you’re at the beach, it’s a beautiful day. And then you go to a day party, listening to disco, house and having a good time. And then you move to a nightclub at nighttime, it’s getting a bit tougher, and then you take a pretty funky pill and it’s quite messy, and then it comes to this really beautiful crescendo and goes to nice, atmospheric kick-on. It’s a day and night in Sydney.
“If you really listen to it, you’ll get it – hopefully.”
Image: Nathan Moraza
As for the song selections, the pair sought out to uncover the most unexpected and diverse music that they could. “Our whole pitch to people when they wanted to submit tracks was, just send us the weirdest thing you’ve got. If you’re a hip-hop artist and you’ve been working on techno, send us the techno. We don’t want your hip-hop, people know about your hip-hop. When you listen to it, you’ll be like, oh, Tim Sheil does that? Sam Weston does that? And this side project from GL – Where the hell does this come from? It’s so polished and amazing but it’s really a six piece jam band who get together and jam in Melbourne and don’t put anything else. But we’ll put it out. We’re those weird guys who’ll put it out.”
Listen to Plastic World’s compilation below, and you can buy or download it here.
Read our full review of the Plastic World compilation
Image: Plastic World
The term ‘compilation album’ has a tendency to inject shudders into the spines of more artist-centric music fans. But for a fledgling label they often serve as proof of concept, the culmination of an underpinning idea or sound which holds their diverse roster together. Often it’s something which may not be readily defined in more conventional musical terms.
This is something that makes Plastic World Volume 1 all the more an enticing prospect. Since 2013, Sydney duo James McInnes (formerly of Future Classic) and Astral People’s Vic Edirisinghe have been curating a menagerie of cult electronic acts. Their formative compilation showcases 14 original contributions from Plastic World’s sprawling stable of artists.
But the album goes past a mere commercial listing, also touching on some more conceptual leanings. Encouraging their coterie to put forward their most unconventional works in progress, the LP’s track listing recounts a fictitious narrative. Poised on the closure of Sydney’s club culture, the album kicks off with an idyllic beachside session, evokes a visitation to a vibrant house party, crescendos into a night on the town and finally transitions into an ambient comedown.
Opener Tides provides a grand restatement of the label aesthetic of laid back vibrations, exceptional production, and retrophilic futurism. The Silent Jay & Jace XL track takes the form of electronic R&B, pushed forward by silkily soulful vocals. Like Curtis Mayfield meets Zapp.
Given the current buzz surrounding Sampa the Great, the Zambian émigré may very well prove herself one of the label’s, if not Australia’s, leading acts. Here she’s helped hungry fans to another original, second track Wonderland. With skilful wordplay and deftly unconventional production, it proves itself more than a worthwhile leading track.
The Ambient serves as a fitting introduction to the more production-based projects, which comprise the bulk of the label roster. Created under the hand of plunderphonists Young Spice, the third cut takes the form of a free-flowing ambient interlude. Love Rain Down by Melbourne’s Mondo Freaks pushes 80s synth pop to perfection. While still simmering predominantly underground, the revival of this sound seems to be well and truly kicking into a full swing.
The disco-tinged sounds of MS-DOS and Night Rider serve as a seductive introduction to harder house leaning dance track Ideal (2014) and the bubbly techno of Universal Soldier. The closing side of the album sheds more light on freeform experimentation. Thomas William’s 4G Swirl makes a definite nod to the conceptual production of New York’s Fatima Al Qardi. Those finding purchase in the experimentation of Oneotrix Point Never alongside the latest host of artists coming from labels like Ghostly and Warp, might find the textured soundscapes of Kane Ikin and Dreems cut from a similarly ambrosial swathe. The synth pads and slow chugging groove of BODY CORP.’s Efforts could sit easily beside the work of Com Truise, yet the track remains equally engaging in its own right.
Plastic World Volume 1 establishes that, dedicated followers of fashion that they are, the minds behind Plastic World have their fingers on the pulses of current trends in electronic music. This said, there’s also distinctive sonic imprints of what are likely germinations of a shared desire to create something which moves ahead of these trends. Like Warp Records Artificial Intelligence or PC Music’s PC Music, Vol 1, Plastic World Volume 1 might in time prove itself a key reference point within the current wave of Australian music.
Image: Nathan Moraza
Following on from their brilliant mini-album Sacrifice which dropped earlier this year, Tides is just gorgeous. Upbeat, funky synths lay the foundations beneath Jace’s beautiful, honeyed vocals. Coupled with harmonies, backing vocals and a delicate rhythm, this track is rich and textured, with Jay’s bars adding another smooth layer to the wonderful track, which makes its mark as the opening number for the full compilation.
You can check out all the details here before it comes out on August 18.
Plastic World: Volume 1 track list:
- Tides – Silent Jay and Jace XL
- Wonderland – Sampa The Great
- My Way 2 U – Young Spice
- Cosmos – Vulture St Tape Gang
- Love Rain Down – Mondo Freaks
- MS-DOS – The Possé
- Night Rider – Spvrs
- Pipe Dreams – Opal E
- Why Aren’t You Dance – Lizprome & Nite Fleit
- Ideal (2014) – Sam Weston
- Universal Soldier – Hugo Frederick
- 4G Swirl – Thomas William
- Laserdisc – Kane Ikin
- Mind Drone (Ambient Mix ft. Aphir) – Tim Shiel
- Kings Hwy Bwood – Dreems
- Efforts – BODY CORP
Having been founded in 2013, Australian electronic label Plastic World have quickly gone about establishing themselves as one of the best up and coming record labels in the country, signing stellar young artists like GL, Retiree and Cassius Select among many others. To showcase some of the best in Australian music Plastic World will be releasing their very first compilation tape, Volume 1, featuring 16 unreleased tracks from a huge array of artists.
Plastic World’s most recent signees in The Possé were the first artist to reveal their track for the compilation with MS-DOS, with the rest of Volume 1 featuring names like Sampa The Great, Silent Jay & Jace XL, Vulture St Tape Gang, Spvrs, Tim Shiel and so many others. Each artist brings their own unique sound and flavour to a compilation that should provide a wonderful snapshot of a very healthy underground scene in Australia.
Of Volume 1, Plastic World founders James McInnes (formerly of Future Classic) and Vic Edirisinghe (of Astral People) explain, ‘We hope to help those that inspire us day to day by giving them a platform to showcase their music on a greater scale – this is the true fundamentals of Plastic World.’
You can get your hands on Volume 1 when it is released August 18th.
Plastic World: Volume 1 full track list:
- Tides – Silent Jay and Jace XL
- Wonderland – Sampa The Great
- My Way 2 U – Young Spice
- Cosmos – Vulture St Tape Gang
- Love Rain Down – Mondo Freaks
- MS-DOS – The Possé
- Night Rider – Spvrs
- Pipe Dreams – Opal E
- Why Aren’t You Dance – Lizprome & Nite Fleit
- Ideal (2014) – Sam Weston
- Universal Soldier – Hugo Frederick
- 4G Swirl – Thomas William
- Laserdisc – Kane Ikin
- Mind Drone (Ambient Mix ft. Aphir) – Tim Shiel
- Kings Hwy Bwood – Dreems
- Efforts – BODY CORP
Image: Nathan Moraza
Plastic World has quickly become one of Australia’s best imprints. Boasting a roster of some of the best acts this country has to offer (such as GL, Retiree, Cassius Select and more), they’ve worked hard to make a name for themselves as innovative tastemakers – and their back catalogue is a testament to this.
Next weekend marks their 2nd birthday, so naturally the crew are planning to celebrate in style. They’ve got themselves an unreal lineup, a legendary venue in The Chippendale Hotel, and a “big announcement” that we should all be getting ready for, so it makes sense that tickets are flying out the door. Black Vanilla, Sampa The Great, András, Dreems, Cassius Select, Silent Jay & Jace XL and so many more will be tearing up the pub all night long as Plastic World prepare for a full-venue takeover.
To help them celebrate, we asked the guys about their label, and what songs define what it is they’ve done. In return, they’ve gifted us a little trip down memory lane, and mapped out some of the tracks that mean most to them and their journey so far. They summed it up best themselves when they said, “What links Plastic World’s releases are not genres or trends, but instead a freshness and creativity that was screaming to be unleashed onto the Australian musical landscape.” We couldn’t agree more!
Alba, Knokke
Where it all began. These two have been staples in Sydney for sometime, and their live show is unreal. Knokke a great way to launch plastic-world, my heart still beats faster every time it comes on.
GL, What Happened To Us?
These guys are out and out superstars. We were absolutely head over heels when we first came across these guys, and this track was a big part of that. Ella has one of the strongest voices out, so hard to get that chorus out of your head once it’s in there. What happppened to?
Cassius Select, Bruv
Released on a split 12″ with Tuff Sherm that absolutely went crazy. Lavurn has an absolutely unstoppable energy and it really reflects on both of his tracks on PWRLD003.
Khidja, Mustafa (Timothy J FairPlay Remix)
We obviously didn’t release this one, Eugene (Tuff Sherm) opened with it at the launch of him and Lavurn’s 12″ at the Bowlo’. This track perfectly captures what was such a unique and incredible energy in that room. After that night we really felt that Plastic World had landed.
Retiree, Altruisme (Harvey Sutherland Remix)
The original is an absolute belter, so we were honoured to have Harvey add his delicious synthy goodness to it. This one was on a cheeky little digital release we did after their first EP, we’ve stuck by them from the start and always will! For good reason!
Savoir, Malala
Perth big ups. I will never tire of this song. Effortlessly catchy and so goddam funky.
Thomas William, Sleepwalk
Thomas William is a don. This boy bided his time and finally released the EP he wanted to release, and we are so honoured that he did it with us. Love the way this tune shuffles.
Hugo Frederick, Hexagon
Hypnotic and calming to the last. Hugo is such a talented producer, and this track perfectly showcases what he is capable of. From that distant yet powerful shuffle, to those growing synths, one of my favourite tracks we’ve ever released.
Retiree, Gundagai
Above all else Retiree are just great story tellers. Low key and humble Australian stories that really speak to a lot of people. This one was released on old mate Bradley Zero’s label, Rhythm Section, super proud to see them flourish on the international stage.
GL, Number One
These two are about to really take off. One of the proudest moments of our little label was watching Graeme (G) and Ella (L) perform in front of 12,000 people at Meredith last year (see our photo diary from GL’s Meredith experience here). They absolutely killed it! This here is their new single, big things on the way!
If you want to get in on the birthday action, head to The Chippendale Hotel in Chippendale, Sydney from 2pm on Saturday, January 16th. You can get your tickets here and see more information here.
Having just released their latest single Number One earlier this month, Plastic World signees GL are already killing it ahead of the release of their album next year. This week saw them drop the video for Number One, which is just as fun and crazy as you’d imagine from the song.
Pastels. This video is pastels, and it’s gorgeous. The track and the video have a perfect aesthetic harmony, with both going in a really clean 80s style direction. We’re introduced to a bunch of characters from the get go: a pair of red-headed twins making pancake batter, an older woman tearing clothes out of a cupboard, an absolutely stunning woman taking a bath, and of course the duo, sitting in the lounge room just singing and grooving along. It’s absolutely lovely to look at, with everything shot perfectly. Shots of the suburbs and the house itself really fit the song even though there doesn’t seem to be a story, and everything comes together really chaotically at the end, with every character going nuts in the living room.
[youtube http://www.youtube.com/watch?v=ucbK0iyA3Vs]
With their album dropping next year, hopefully this is a sign of things to come for GL. They’ve got such a clear aesthetic alongside their music, so one can hope that they bring out way more videos as well. Either way, we’re super excited for what’s still to come.