We sat down with Marc Dwyer. He has been using the Buzz Kull title as a creative output since 2012 and continues to hold its position as one of the more darker electronic acts in Australia.
Buzz Kull delivers a mass of nauseating synth lines and pounding drum machines that is a testament to his personal sonic exploration over time. Dwyer’s music transcends the traditional archetype of darkwave by pushing aggressive pop sensibilities and focusing on different emotional states and boundaries.
我们和马克·德怀尔坐了下来。自 2012 年以来，他一直将 Buzz Kull 的头衔用作创意输出，并继续保持其作为澳大利亚更黑暗的电子艺人之一的地位。
Buzz Kull 提供了大量令人作呕的合成器线路和敲击鼓机，这证明了他个人随着时间的推移对声音的探索。 Dwyer 的音乐通过推动激进的流行情绪并专注于不同的情绪状态和界限，超越了传统的暗波原型。
Can you tell me a little bit about yourself? When did you start making music? When did you start playing shows?
I grew up in a coastal town in NSW Australia where surfing and sports was the cultural upbringing. I grew out of that eventually, and wanted to divert myself towards a different path. I moved to Sydney not long after highschool with very little ambition or direction towards where I wanted to be and what I wanted to accomplish. After a few years of experimenting with music, synthesizers, and drum machines, I started a band with my friend/housemate in 2009. That was when I began understanding the basics of recording, structure, and performing. I found that throwing myself into the deep end when performing made a huge improvement to my struggle with social anxiety and I was able to express my emotions a lot easier on stage than I could in any other format. I never intended to make a career out of music and it was never enough to keep myself financially afloat in the costly city that Sydney is known as. I was constantly changing jobs as no one could cater for anyone who was constantly having to travel interstate to play shows, it has always been a difficult divide. Eventually I found myself working in an art department role for film/television productions as a set dresser, and I have found that it is the ideal work structure for how my schedule falls as a touring artist. Every job has a start and a finish date that I can easily plan tours with no sacrifice or dates colliding.
经过几年对音乐、合成器和鼓机的试验，我于 2009 年和我的朋友/室友组建了一支乐队。那时我开始了解录音、结构和表演的基础知识。我发现，在表演时全身心投入，极大地改善了我与社交焦虑的斗争，而且我能够在舞台上比任何其他形式更容易表达自己的情绪。
Tell me about your touring history outside of Australia. Which continents have you visited? Do you have any tours planned for the future?
At the moment things are a little slow in Australia with vaccinations and knowledge on when anyone can safely travel outside of the country. Over the last 5 years I have been so overwhelmed and grateful from the response of other cities over the years.
My first tour was pieced together around Kalabalik Festival in Sweden, it gave me the opportunity to give the project life and understanding. From there I began working with an agent based in Paris and she stuck her neck out for me and pushed me to return as much as possible.
Since then I have been able to perform and visit some places that I’d never have imagined I would have had the pleasure of experiencing – Germany, France, Spain, UK, Italy, Hungary, Russia, Netherlands, Switzerland, Denmark, Greece, Bulgaria, Poland, Sweden, Belgium, Czech Republic, Scotland, Japan and Portugal.
It has made me want to push myself and the project much farther than I could ever imagine. It feels close to having a second home when I travel to Germany, France … in fact everywhere I go in Europe, I always appreciate the bond I have between myself and the people who I work with in each city, as I wouldn’t be doing this if it weren’t for them playing such a large role in organising my shows and looking after me.
There are some tours being discussed in the future around the US and Mexico and I’m sure I will be back in Europe in no time.
从那以后，我能够表演和参观一些我从未想象过我会很高兴体验的地方 – 德国、法国、西班牙、英国、意大利、匈牙利、俄罗斯、荷兰、瑞士、丹麦、希腊、保加利亚、波兰、瑞典、比利时、捷克共和国、苏格兰、日本和葡萄牙。
From my understanding, you haven’t played in China yet. Do you plan on playing there once it’s safe to do so?
There have been a few discussions on shows in China over the last few years, however I have never travelled outside the airport. I enjoy going to new places to perform without knowing how the audience’s response will be, it gives me the motivation to push myself harder during the performance to deliver an energy towards the crowd to let them feel something rather than be there just for a run-of-the-mill performance.
What was the first synthesiser or drum machine that got you hooked? Tell me a little about the history? Was it a friend you borrowed or one you acquired?
The first synthesiser I bought was a Roland Alpha Juno 2. I had just completed high school and applied for my first credit card. I then became a frequent user of eBay auctions looking for gear. It was that time in the early 2000’s when you could still find a lot of nice gear for a fairly low price. After buying the Juno, I began learning through headphones and eventually bought a few pedals and messed around with FL studio; I struggled to be able to figure out the software but it was my first introduction to midi and recording software.
我买的第一台合成器是 Roland Alpha Juno 2。我刚刚读完高中并申请了我的第一张信用卡。然后，我成为 eBay 拍卖的常客，寻找装备。那是 2000 年代初的那个时候，您仍然可以以相当低的价格找到很多不错的装备。买了 Juno 后，我开始通过耳机学习，最终买了几个踏板，并在 FL studio 上乱搞；我努力想弄明白这个软件，但这是我第一次介绍 MIDI 和录音软件。
Ebay was an awesome source for finding great deals prior to the vintage synthesizer boom around the mid 2000’s. What was the best find you found? Is there anything you wish to this date that you had bought? I ask this because there’s many things I wish I had gotten during that time.
So many! There were always a lot of items I saw on sale from my wish list – Original Roland Space Echo, EDP Wasp, Roland SH-101 and I recall seeing a Yamaha CS-80 at one point, that has always been something I would have loved to have owned. I just never had the money to throw down even though a lot of these went below the usual sales average.
很多！我的愿望清单中总是有很多东西在打折——原版 Roland Space Echo、EDPWasp、RolandSH-101，我记得有一次我看到了YamahaCS-80，这一直是我喜欢的东西拥有。尽管其中很多都低于通常的销售平均水平，但我从来没有花钱。
What’s your go-to instrument? The one that you get the most inspiration from? What is it about the machine that you love?
For a number of years I was using an Arturia Minibrute, these are a fairly priced synth that are an ideal size to tour with and it also managed to handle a solid beating on the road and on stage. The keys were a good size for live shows in the more dark, smoke and strobe filled venues without playing too many bung notes. It had a nice thick bass sound and was able to perform all the higher lead parts throughout a lot of the tracks I wrote for “Chroma” and “New Kind Of Cross”. I found it had good capability to be able to experiment with many effects pedals especially with the spring loaded pitch wheel. I really love using the Death By Audio gear, Dreadbox, Mr Black effects and always go back to using some classic Roland/Boss gear.
多年来我一直在使用 Arturia Minibrute，这是一款价格合理的合成器，非常适合巡演，而且它还能在路上和舞台上处理稳定的跳动。按键尺寸适合在更黑暗、烟雾缭绕和频闪的场所进行现场表演，而不会播放太多的闷音。它有很好的厚重低音，并且能够在我为“Chroma”和“New Kind Of Cross”编写的许多曲目中演奏所有较高的主音部分。我发现它有很好的能力来试验许多效果踏板，尤其是弹簧加载的音轮。我真的很喜欢使用 Death By Audio 装备、Dreadbox、Mr Black 效果，并且总是回到使用一些经典的 Roland/Boss 装备。
Tell me about how you prepare to play live. Do you first test new tracks and ideas out on a crowd before recording them? Or do you record the tracks and then prepare the tracks for live?
When I make new music I listen over the material for a few weeks until I feel it’s ready to experiment with on stage, after performing a few times over and perfecting it I can usually have a good sense for areas that may need more drums or fills or any adjustments. Then I will recreate the adjustments and have it ready to go into the mixing process to hopefully sign it off as a complete work.
How do you go about preparing a live set? What’s your rig like? I see you have a Moog Grandmother and that you play the keys live, do you have a sequencer controlling it to?
A lot of my shows and touring involve a lot of international flights, I had to think about weight and how much I could travel with, I also compensate with my clothes and merch and the kind of gear that could be fail safe to be able to take some knocks and bumps that won’t fail me right before a show or mid-set. Gear failure is always a thing that can happen at any given time and can always create a bit of paranoia. On the same page of trying to keep my gear light I don’t use or have ever really messed around with sequencers for live performance.
The Moog was actually borrowed from a friend Robbie who owned the studio where we recorded the live video performance; I had never used a Grandmother before so it was kind of nice and strange to create something that was heavily documented with some new gear that I was only just learning to use over a few minutes.
Moog 实际上是从朋友 Robbie 那里借来的，他拥有我们录制现场视频表演的工作室；我以前从未使用过祖母，所以用一些我刚刚学会使用几分钟的新装备来创造一些有大量记录的东西是一种很好和奇怪的方式。
Gear failure is one of a musician’s worst nightmares. Have you had any gear failures on the road? If so, what did you do to remedy the situation?
It has always been a paranoia of mine, luckily I have had no issues with my gear as I travel with cheap and replaceable equipment.
The benefit of using cheap gear in my situation is perfect as I don’t use it lightly, I tend to get a bit aggressive with it, I have the fold back speakers up loud so I can rhythmically thrash myself and the equipment on stage during a performance.
It’s mainly cables that constantly tend to fail and I thought at one point if I bought expensive leads this would stop, I was wrong, they break much easier so I settle for basic ones and have a bunch spare in my luggage.
Tell me about the best gig you ever played? Describe everything about it that made it monumental for you.
The one that comes to mind is the first show where I truly felt comfortable in my work and the performance. I felt this sensation at the Aufnahme + Weidergabe show with Die Selektion at Urban Spree in Berlin. Everything felt aligned from soundcheck onwards. The energy, my nerves, the crowd and the response was special to me. I felt like I had hit a new benchmark that night and I am still trying to get better with each show.
我想到的是第一个让我在工作和表演中真正感到自在的节目。我在柏林 Urban Spree 与 Die Selektion 的 Aufnahme + Weidergabe 秀中感受到了这种感觉。从试音开始，一切都感觉一致。能量，我的神经，人群和反应对我来说很特别。那天晚上我觉得我达到了一个新的基准，我仍在努力在每场演出中变得更好。
Is there anything you’ve learned or any tips you would like to share for those out there aspiring to play live electronic music? Anything that comes to mind where you had an epiphany, and upon having it you thought something like ‘that was so simple, why didn’t I think of this before now?’
If I look back to when I first began, there are many things that I contemplate doing differently, though I guess I may not be where I am if it were for this. Performing and creating is a learning curve that still continues to happen well within an established career, more so when you make the mistakes that shape the way you design your sound or performance. It’s important to not overthink these things you create, other people may judge it harshly. When the numbers come together it usually turns out a lot more people will love and appreciate your work than those who dislike it, if you keep pushing yourself and your boundaries, those who dislike it may come around someday to enjoy what you do.
I hear you’ve recently collaborated with Ellen Allien; can you tell me about this? Do you have any future plans with her and playing any shows?
Over the last few months Ellen has been very supportive and kind to mix a number of my songs within her live streamed performances and present them to a much larger scale audience that I would never be capable of doing myself.
Since then we have discussed making something together and I was working hard for weeks trying to find a track that would complement Ellen’s work going by the songs she has worked on in the past. It took more time than I expected as my motivation was low from the constant force of trying to deliver something and never happy with my results. It was only recently that I was able to gauge on some of my recent ups and downs in life and create it into a song that had true feeling behind it where the lyrics and music have transformed into something I feel contains a certain beauty.
Ellen now has the track and creating her parts for it as we speak and I cannot wait to see what it evolves into.
从那以后，我们讨论了一起制作一些东西，我努力工作了几个星期，试图找到一首可以补充 Ellen 过去工作的歌曲的曲目。花费的时间比我预期的要长，因为我的动力来自试图交付某些东西的持续力量，并且对我的结果从不满意。直到最近，我才能够衡量我最近生活中的一些起起落落，并将其创作成一首背后有真实感觉的歌曲，其中歌词和音乐已转化为我觉得包含某种美的东西。
Interview 作者: Maeghan Donovan
Translation 翻译: Emi
Photos照片: Keyi Studio www.keyi.eu
Izabella Chrobok & Grzegorz Bacinski