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Ceramic Model's multi-medium collective collaboration on 'Self Lick'
The Gadigal Land/Sydney-based producer's release on label General Merchant tests the idea of where music stops & real life application begins.
General Merchant is a Gadigal Land/Sydney-based label regularly committing itself to experimentation across its numerous releases and events. The group has become known for an approach to events that places a focus on lighting and atmosphere, not only in more DIY spaces, but public ones too.
This commitment to atmosphere has, to those who have experienced their work, inspired a new wave of grassroots promoters to push their events even further.
General Merchant’s label is much the same, not sticking to one particular sound, but instead delivering a series of releases, each with its own distinct identity.
The label’s latest release is one by Ceramic Model, also based on Gadigal Land, titled ‘Self Lick’. The double single is driven by twisted rhythms and matched by building atmospheres and heady percussion. Disorienting and yet entirely structured, Ceramic Model has pieced together a variety of building and cooling elements to deliver an experience which is as raw as it is purposeful.
Accompanying the release is a work commissioned by Gadigal land artist Harrison Rae. In producing it, the artist delved into the concept of model collapse and the extractive nature of data, labour and earth materials used by AI, pushing the model's conception of the earth minerals which are mined for its development and continued use.
The work seeks to expand upon the meaning of Ceramic Model’s music, placing it at the centre of an all-too-relevant conversation around the cost of our deepening relationship with emerging technologies.
To gain some insight into the release, Harrison’s work and the role of General Merchant itself, Ceramic Model spoke with Mixmag ANZ.
Q: Daniel, thanks so much for taking the time to chat. I’d love to know, what is ‘Self Lick’ exactly?
CM: No worries, I appreciate the opportunity! So I recently heard the nature of the universe being explained as a self-enjoying video game or a self-licking ice cream cone, haha. I’m quite into listening to talks on consciousness and philosophy, and enjoy bringing that into the music in some way.
Q: What kind of role do you think that atmosphere and sound design play on a dance floor?
CM: I’ve always found it really interesting how the sound design alone can sustain interest over the length of a track, it’s like how good can you make this loop sound and manipulate it in a way that changes slightly over time in order not to get boring yet not change too much to keep it hypnotic. In the context of a dance floor, I think DJs, whether they know it or not, are gonna use it as a tool to tell a story and keep the audience engaged for as long as possible.
Q: Have you made this with dance floors in mind?
CM: I like to make things somewhat functional, but it’s not something I’m consciously thinking about, probably because I’m so far removed from parties at the moment. I’ve found that having particular outcomes like that in mind only gets in the way of the ideas that could come through.
Q: This release is a refined, thoughtful take on the mood that Gadigal Land’s ‘underground electronic’ scene seems to be becoming increasingly known for. I’d love to know why you think a focus on cerebral sounds like these are so popular among these communities?
CM: Thank you, I didn’t know that they were to be honest. If I were to guess, I would say maybe it’s a reflection of the DIY culture/warehouse parties.
Q: As someone now contributing to that sound, where do you, as an artist, feel that inspiration stops and creation begins?
CM: I don’t think they’re separate, just different in form, like the energy of inspiration wants to be expressed through you, as creation. I think that’s one of our functions as humans, to create things that serve the whole and add to the beauty of the world.
Q: What has it been like to release this via General Merchant?
CM: Nahar has been amazing to work with, and the whole process has felt really exciting as a fan of the label.
Q: As I understand, you were introduced to them by your housemate, Wingnut. What role do you think this kind of personal connection & impact plays in the way you create your music?
CM: It’s interesting to think that if we hadn’t had that conversation, this release wouldn’t exist, so no doubt things like that push us in the right direction and are an essential part of the creative process as a whole.
Q: I saw that you got feedback via UK producer Hodge. What was that like & how did it frame the release for you?
CM: I think at a certain point when writing a track, you can get pretty jaded and lose sight of where it could go, that’s where I was at with ‘Stay Empty’ when I reached out to Hodge.
I usually find Zoom calls fairly awkward, but he was super enthusiastic and straight to the point with what he could help me with. One of the things he suggested was to duplicate the bass channel and delay it out, which resulted in the droning sound in the second half of the tune. The track was basically finished on the same night. I also worked with Parris via echio on ‘Self Lick’. I think this workflow fits well with the collaborative nature of the release.
Q: You’ve worked with Harrison on this release, and he’s contributed work for the art. What kind of role do you think this digital piece of art plays in communicating ideas about the music you’ve made?
CM: To be honest, conceptually it’s over my head, but the resulting work of art fits the music beautifully.
Q: Many other producers might pop a photo or a mock of a record as their release art. Why was collaborating on this so important?
CM: I mean, all credit to General Merchant for deciding to commission Harrison for the artwork. They are amazing curators in the way they bring things together. I believe in the value of collaboration in bringing things to life in a way that might not be possible for an individual.
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'Self Lick' is available for streaming & purchase via General Merchant's Bandcamp.
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Jack Colquhoun is Mixmag ANZ's Managing Editor, find him on Instagram.
