In this instalment we hear from Australian-born Toiling aka Hugh Barnard, who moved to Berlin in 2018. He details how his hometown scene in Sydney has crumbled under mounting pressure from the state government, and the dangers of over-promotion in the underground scene. Despite the usual struggles that all expats in this city are familiar with, Hugh has found a family of like-minded people that provide inspiration and opportunities for collaboration.

 

When it comes to his exploratory live sets, expect chaotic cosmic fluctuations and mind-bending electro pings – taking you on a visual and vibrant musical trip.

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NCOUNTERS: Where did you grow up?​ How did you form your early musical aesthetics?

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Toiling: I grew up in Sydney, Australia where I was mainly interested in my Dad’s music (Pink Floyd, Simon & Garfunkel, Bob Dylan etc.). In my formative years (before my teens), I was heavily into Metal/Beat Down Hardcore, and played bass guitar in a couple of bands. I started producing for fun with some friends of mine, but didn't really fully immerse myself until I moved overseas. 

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How was the music scene there, and how did you come into contact with it? Did an alternative/underground music scene already exist there – if so, to what extent were you part of it?

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I didn't really get into electronic music until the end of high school. There was a booming underground Techno scene in Sydney – however, since I left, the scene and culture have started to fall apart, due to many factors. I haven't spent much time in Sydney since high school, so I didn't get very involved in the scene. I did attend a few raves, which were always an amazing experience and the perfect gateway for me into electronic music. Since I haven't been home for so long, there hasn’t been a chance to see Sydney’s underground scene first hand for a while. Although, an amazing producer/DJ (and a best friend of mine), Erin Norjte (UNDER A), has kept me informed with what has been happening: 

 

"The rave culture was premo, everything that you would expect to hear about in regards to any good rave scene. But as the events grew, the promoters, organisers and artist began to get recognition, it started crumbling...collectives would only showcase their own DJs. Promoters started doing paid promotions on Facebook. Which for any good underground scene is the worst thing you can do. Police now knew where and when the events would take place. Eventually there were raids at all the major warehouse locations and thus, the Sydney scene died."

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