Category Archives: Ah!Puch!

♫ LB Pounds – Well Done

Debut track ‘Well Done’ by LB Pounds.

LB was born on a waxing crescent moon, which you never should underestimate what can do. His father’s an empty bottle, and his mother, well she’s a turtle. Born and bred in Melbourne, Australia, where’s main claim to fame is the Big Koala, about 3 hours drive West of the CBD.

“Well, folks, that’s about it – you don’t have to go home, but you can’t stay here. It’s all right now and it’s all right here. In the Everywhen. Thanks for coming.”

– LB Pounds


Gnawa Trance, Essaouira, Morocco

Once a year the sleepy Atlantic port town of Essaouria in Morocco is flooded with nearly half a million tourists, most of them Moroccan. They come for the Gnawa Festival, four days where Gnawa music and culture takes center stage. Dressed in colourful robes and caps studded with cowry shells, the medina resonates like a giant calabash with the sound of krakebs (metal castanets), tbel (drums), gimbri (a three stringed bass instrument), handclaps and the voices of the Gnawa themselves.

Away from the lights and massive sound systems of the main stages, where the likes of Pharoah Sanders, Wayne Shorter and The Wailers have performed fusion music, lays a different story. Hidden amongst the labyrinth of the medina, is a small, windowless workshop that has been unofficially dubbed ‘The University of Gnawa’, where these recordings were made.

Knocking on its medieval door, you hear Maâlem Seddik call out ‘Entrez’. Inside you step over woodcarvings from the gimbris he is building. He doesn’t speak much English, and I speak even less French, so communication is limited. He plays host to an endless flow of musicians who come and sit, night and day, in the dark workshop, telling stories, playing gimbri, singing songs, eating, drinking and smoking.

Seddik passes me an old cassette tape (see track 1), which acts as a substitute for krakebs, and we sit playing for hours with a group of local musicians. A trance descends upon the room, until finally it is time to take a break.

‘Are you heading out to the festival?’ I ask, and Maâlem rolls his eyes and speaks in French to a friend who translates in to broken English for me. The festival is four days of bright flashing lights and loud speakers that vanish as quickly as they appear. The festival has become one of show biz. For Maâlem Seddik and his friends, Gnawa music is a way of life that extends far beyond the limitations of a four day festival.

The history of the Gnawa is a long and complicated one. If you believe Jimi Chaplin, a local Gnawa musician who takes his name from Jimi Hendrix and Charlie Chaplin, then the Gnawa are direct descendants of Bilal who cured the Prophet Mohammed’s daughter Fatima of an ailment by singing her a song.

Dr. Chouki El Hamel cites three important meanings for the term Gnawa; ‘Firstly it refers to black people who were enslaved in West Africa. It is commonly believed that Gnawa of Morocco were originally black slaves…who over time became free under various historical circumstances. Secondly, it defines a religious and spiritual order of a traditionally black Muslim group. The Gnawa are a mystic order which marks its exclusiveness within Islam with the spiritual components of their practice incorporating references to their origin and enslavement. Finally, it denotes the style of music associated with this order. The ancestral memory (turath) of the displaced and enslaved is preserved mainly in their songs and dances’ (1).

Central to Gnawa culture is the musical and ritualistic tradition of the lila, a rich ceremony of song, music, dance, costume and incense that takes place over the course of an entire night, ending around dawn.

Gnawa, whose ancestors were neither literate nor native speakers of Arabic, begin the lila by recalling, through song and dance, their origins; the experiences of their slave ancestors, tales of abduction, sale, separation, loneliness and ultimately redemption.

The ceremony recreates the first sacrifice and the genesis of the universe by the evocation of the seven main manifestations of divine creation. It calls the seven saints and supernatural entities (mluk, Arabic: ملوك) represented by seven colours.

The mluk are abstract entities that gather a number of jinn (genie spirits). The participants enter a trance state (jedba) in which they perform spectacular dances. Through these dances, the participants negotiate their relationships with the mluk, either placating them if they have been offended or strengthening an existing relationship.

The mluk are evoked by seven musical patterns, who set up the seven suites that form the repertoire of dance and music of the lila. During these seven suites, seven types of incense are burned and the dancers are covered by veils of seven colours.
Later, the gimbri opens the treq (“path,” Arabic: طريق), the strictly encoded sequence of the ritual repertoire of music, dances, colours and incenses, that guides the ecstatic trip across the realms of the seven mluk, until the return to ‘the common world’, at the first light of dawn (2).

The Gnawa Festival of Essaouira is on every year in May or June. Maâlem Siddik and his University of Gnawa can be found all year round.


(1) Dr. Chouki El Hamel – Gnawa Music of Morocco

(2) Wikipedia, Gnawa Music

♫♫♫ WiLSON – EP (2015) ☮☮☮

Visit the WiLSON website for more



☮ ☮ ☮ WiLSON residency continues – Tues 19th Nov @ BONEY ♫ ♫ ♫

week 3

☮ Photos from WiLSON residency – Week II! ♫

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☮ ☮ ☮ WiLSON residency continues – Tues 12th Nov @ BONEY ♫ ♫ ♫

WiLSON #2 residency promo

☮ Photos from WiLSON residency – Week I! ♫


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♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫ ☮ ♫

Wilson Residency Poster 75%

☮ WiLSON – first single ‘After Antiques’ OUT NOW! ♫

♫ new WiLSON video ♫

Viva la Amateur!

In Praise of Amateurism

by Lochie Bradfield

‘You are the music, while the music lasts’ –  T.S. Eliot

The first ever sound recording was made on April 9th, 1860 by Édouard-Léon Scott de Martinville on his ‘phonautograph’ – a device that scratched sound waves onto a sheet of paper blackened by the smoke of an oil lamp. Roughly ten seconds in length, the recording is of an unidentified woman singing “Au clair de la lune, Pierrot répondit” – a section from a popular French folksong.

This moment marked a turning point in history, the effects and consequences of which are effectively impossible to measure. This humble sound recording led to a series of miraculous discoveries and wonderful inventions, from the phonograph to the radio, cassettes, CDs, personal headphones, walkmans, MP3s and iPods – in the process creating a very different relationship for how humanity relates to, and experiences music.

Prior to recording mediums, music was something we actively did – families had pianos in their homes, people sang at religious ceremonies or while working in the fields, audiences attended performances in major cities or were perhaps lucky enough to see travelling bands touring through regional areas. Walter Murch wrote, ‘Music was the main poetic metaphor for that which could not be preserved.’

In short, music was ephemeral – it was there while it was being played and then it was gone. All that was left was a memory – coloured by all kinds of external and subjective factors – what your day had been like, who you were with, how much you had paid for the experience, what the weather was like.

At this time in history there was no clear distinction between amateur and professional musicians – the cult of celebrity and music as commodity did not yet exist. Of course there were great composers and instrumentalists of the time, but access to these greats came either through sheet music, which you yourself had to play, or through performances, which you had to attend. If you wanted to hear a song then it was up to you or someone around you to sing it – there was no Maria Callas, no Aretha Franklin, no Beyonce – there was just you.

Indeed phonographs in the early 20th Century actually had microphones included with them to record people’s home performances. There was an explosion in people sitting around their living rooms recording parties, orating, singing karaoke style numbers. This recording feature – while hugely popular with the armies of amateurs belting out pop tunes in their living room – was taken away by the record companies, who had an altogether different agenda.

They were more interested in selling ‘quality’, ‘professional’ records, which sat in stark contrast to ‘amateurs’ exploring the joys of music at home. They envisioned a system that placed higher value on the audience appreciating ‘quality’ music than active participation or creation. Effectively audiences were converted from active participants to passive consumers – a system which largely dominates today. We all know what it looks like – the all too familiar sight of a carriage full of iPod wielding, headphone-wearing, disengaged passengers commuting on the train, appreciating Rihanna’s latest single – this being but one everyday consequence of the effect recorded music has had upon our relation to and creation of music.  

John Philip Sousa, aka ‘The March King’, famous for his American military and patriotic marches, was opposed to recorded music as a substitute for human beings. In 1906 he published ‘The Menace of Mechanical Music’, writing (from an American context) that,

“The wide love for the art springs from the singing school, secular or sacred, from the village band, and from the study of those instruments that are nearest the people. There are more pianos, violins, guitars, mandolins, and banjos among the working classes of America than in all the rest of the world…[but now] the automatic music devices are usurping their places.

For when music can be heard in the homes without the labour of study and close application, and without the slow process of acquiring a technique, it will be simply a question of time when the amateur disappears entirely…

The tide of amateurism cannot but recede, until there will be left only the mechanical device and the professional executants.

Then what of the national throat? Will it not weaken? What of the national chest? Will it not shrink?”

Of course, it’s not all bad, and I’m not suggesting we should be nostalgic for a time that pre-dated recorded music. Musical dexterity and innovation has been greatly enhanced by recording technology. Music from all over the world can now be experienced as easily as if it had been produced locally. Jazz musicians used to listen to the solos of their idols on repeat, learning every note of a solo, developing an understanding of the relation between the solo and the form. Radical innovations were able to emerge, changing forever the trajectory of modern music – for better or for worse.

What I do lament is the modern industrial complex of specialization, in which people feel that their contribution and enjoyment of music, no matter how amateur, is not of value. ‘Why should I sing when I can listen to Lady Gaga?’

The irony of this situation being that now anyone with a laptop can record a song, or a whole album for that matter. What has changed is people’s conditioning – to believe that ‘they are not musical’, that somehow their exploration of music has no artistic merit.

As David Byrne writes in his excellent book, ‘How Music Works’, ‘many people believe that there is some mysterious and inherent quality hidden in great art, and that this invisible substance is what causes these works to affect us as deeply as they do.’

I would suggest that no such inherent quality exists – of course there are great songs and there are not so great songs – but what is of primary importance is the process. A process that anyone can partake in and from which all people can derive meaning and value.

Friedrich Nietszche wrote “We should consider every day lost on which we have not danced at least once.” I would say ‘We should consider every day lost on which we have not sung at least once’. Even if it is in the shower. puch:shower



‘Emerge in the West’ Festival, Footscray 18.05.13

Dancing in the Street

by Lochie Bradfield

As part of the 10th anniversary of the ‘Emerge Festival’ , which kicked off last Saturday, Multicultural Arts Victoria (MAV) and the Maribyrnong City Council threw a street party called ‘Emerge in the West’  – a celebration of the contributions African communities have made/are making culturally, socially, musically, economically and gastronomically to Melbourne’s West.


Burundian drummers performing @ Emerge in the West, Footscray. Photo by Lochie Bradfield

Despite a few showers in the afternoon, people were out in Nicholson St, Footscray, dancing to the sounds of Sudanese pop, Ethiopian jazz, Azmari banter, Somali pop, traditional Burundian drumming, West African dance and Cape Verdean reggae. The best part? All the performers now call Melbourne home.

There were performances from Ajak Kwai, a Sudanese singer from the Malakal Region of the Upper Nile. She sings in her native Dinka language as well as Arabic and English – songs of freedom, love, peace, death, marriage and cows.

One of the highlights of the afternoon, technical difficulties aside, was the pop stylings of Somali group, Aussom Band, led by Abdi Mohamed Abdi, aka ‘The Man with Ten Hands’. Abdi is is originally from the southern Somali port of Kismayo. Since the civil war in Somalia, which saw the banning of music (among other things), many well known musicians have been persecuted by fundamentalist insurgents, including Abdi. He lived in exile in Kenya for 18 years before settling in Australia in 2008. It was amazing to hear the Somali group here in Footscray, reconnecting with their country’s music after such a long and dislocated experience.

Other highlights included Ethio-Jazz ensemble, Jazmaris, led by Ethiopian pianist Danny Seifu, with powerful vocals by the ever-exceptional Seble Girma. This band just finished supporting the legendary Ethiopian singer Mahmoud Ahmed on his recent Australian tour in January 2013. The band was sounding tight, well rehearsed and very comfortable with their arrangements.

Bitat Seyoum, accompanied by Anbessa Gebrihiwot, played a wonderful set in her native Amharic language, even as the rain fell and audience members sought cover underneath the roofs of shops in Nicholson St.

The Burundian Drummers provided a trance-inducing set of traditional Burundian rhythms with 7 big drums or ingomas, knocking out ever evolving polyrhythms. In Burundi the use of the ingoma was historically a symbol of power, used to commentate on the daily life of the king. The drums were believed to bring peace and unity throughout the kingdom, a belief that continues to present today  – 12 years of civil war notwithstanding.

The afternoon came to a close with roots reggae outfit Ras Jahknow Band, fronted by Cape Verdean born Jorge Abreu (aka Ras Jahknow) They sing songs in English, Portugese, and Creole. The band never strays far from the deep and slow rhythms of roots reggae and created a good vibe to end proceedings on.

‘Emerge in the West’ was a fantastic opportunity for many of the people and communities who make Melbourne’s West what it is – to show their talents, share culture and partake in some good ol’ fashioned dancing in the street.

As a final thought, I was struck by the Burundian drums – upon which they have painted the Australian flag, alongside the Burundian flag. Hitting the sides of the drums with their sticks, the Union Jack on the Australian flag looked as though it were being beat in to submission. I, for one, am very excited about the impact these cultures, musical traditions and musicians themselves are going to have upon the future of Australian music.

Burundi Austrtalia+



The Show goes on!

The Emerge Festival continues until July, with ‘a colourful series of performances and unique cultural experiences encompassing music, dance, visual arts, exotic foods, ancient crafts and ceremonies.’ These include:

–       ‘Main Event’ at Fitzroy Town Hall on Sunday June 16th (12-5pm, FREE)

–       World Refugee Day Rally 2013 at Melbourne Museum forecourt, Sunday June 16th (rally will march to Fitzroy Town Hall)

–       Remastered Myths, Sunday 2nd June at the Toff in Town (3-5pm, $10)

–       Restoring Hope – A Creative Refugee Week Performance, on Saturday 22nd June at Fortfivedownstairs, Melbourne (3-5pm, FREE,)

–       Emerge @ Drum Theatre, Dandenong, Saturday 20th July (2-4:30pm, FREE)

–       Don’t Be Left Out in the CALD – a series of Music Business Skills Workshops for musicians from CALD (Culturally and Linguistically Diverse) backgrounds. Topics include: Getting Gigs, DIY Releasing, APRA & Licensing, Music Law, Grant Writing, amongst others. Saturday 8th June – Monday 10th June. Places are limited and acceptance is by application only. You can send expressions of interest to: or call (03) 9188 3681 for more details.

♫ PROPHETS & FRiENDS – Thursday 16th May @ Conduit Arts

Prophets & Friends 

A night of music, dance, masks and wonderment.

Thursday 16th May, 8.30pm start
Conduit Arts, 83 Brunswick St, Fitzroy Melbourne
$10 or FREE entry if you bring a mask you made…prophets-horse-bazaar-11
Prophets & Friends:
Lochie Bradfield – guitar, bass, percussion, saxophone, electronics
Dale Gorfinkel – percussion, saxophone, sonic inventions
Aviva Endean – bass clarinet, saxophone
Finn Ryan – drums, percussion
Tawanda Gazidkwa – drums & percussion
Appiah Annan – percussion, dance
Peter Fraser –  percussion, dance

[☮_☮] Photos from Ingram ‘Space Monkey’ Tribute [☮_☮]

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Ingram Tribute

Photos by Marcus Salvagno

‘Intermittents du Spectacle’ vs ‘Newstart’

Artist Welfare

by Lochie Bradfield
794px-Australian_banknotes_in_walletimage source: Martin Kingsley, Wiki Commons

As a follow up to the article, ‘A musician’s Perspective on Art’s Victoria’s report in to the ‘Economic, Social and Cultural Contribution of venue-based live music in Victoria’ I thought I would look at the ‘Intermittents du Spectacle’ – a welfare benefit for artists living and working in France.

The program was established in the 1930s, in order to supplement the income of film industry techs (eg. set designers, lightning technicians and camera operators), who worked intermittently under short-term contracts, so that they could remain available for future projects. These days it extends to performing artists of all kinds – musicians, actors, dancers, circus artists, puppeteers – protecting them from the inevitable downtime between jobs that those working in the entertainment industry perpetually face.

Continue reading

♫ Footy’s debut album coming May 3rd on Lost & Lonesome records ♫

Footy‘s debut album ‘Mobile Cemetary’, produced by Footy and Lochie Bradfield at Ah!Puch!Studio! will be released on May 3rd through Lost & Lonesome records.

Album launch on Sunday, May 12 at Northcote Social Club, featuring Pearls, Mad Nanna and Backstabbers…


.Here is what Mess & Noise has to say about the new album –

What: Mobile Cemetery by Footy. When: May 3 through Lost & Lonesome.

Key notes: First album from Melbourne’s experimental electric-piano duo, featuring Dick Diver guest keyboardist Lewis Mulvey and Paddy Gordon of “pagan devotional” trio Stre4m. Influenced by “underground pop; the cerebral jazz of Bill Evans, Keith Jarrett and other ECM alumni; and the clean, driving Kraut-rock of Neu! and Cluster.” Also by “restless, meandering drives through the industrial fringe suburbs of Melbourne’s ‘mid-west’.” Follows a 2011 cassette. Vocals appear only on ‘Workin’’ and the title track. Launching on Sunday, May 12 at Northcote Social Club with Pearls, Mad Nanna and Backstabbers. Stream and download the rippling closing track ‘Sea Home’ for free below.

From the presser: “A nuanced and exploratory album, thematically cohesive and even ‘conceptual’.”


♫ WiLSON – debut release ♫

Currently working on their debut album, WiLSON blends irregular measurements of pop, surreal funk, dub, dance and fun with absurdist, psychedelic, neologic vocal stylings.

You can catch WiLSON  live at Melbourne fashion label SassiCapra’s winter launch – The Wanderer.

Tuesday April 30th, 2013  6pm-9pm at House of Bricks, Collingwood.


♫ Prophets in MELBOURNE 2nd & 3rd March 2013 ♫

Prophets in Melbourne

2nd March – House concert

120 Stewart St, Brunswick – use side gate

4-4:30 Aviva Endean (contrabass clarinet) and Benjamin Kolatis (bass dulcimer)

5-5:45 Great Waitress – Laura Altman (clarinet), Monica Brooks (accordion), Magda Mayas (piano)

6-6:45 Prophets!

BYO drinks. $10 donation welcome : )


3rd March, Sydney Rd Festival – Brunswick Music Festival

Town Hall Plinth, outside Brunswick Town Hall, 233 Sydney Road

1.45pm & 3pm





For all your Prophets needs, visit

♫ ☯ ☮ PROPHETS ♫ ☯ ☮

In celebration of the end of the world, I give you PROPHETS! 

The best dressed and grooviest street band in town and principle advocates of the S T Y L E F R E E movement!

Find out more about PROPHETS!

It’s been nice knowing you!



☮ ☯ ♫ ☻ ☺ Merida Jazz Trio #2 ☮ ☯ ♫ ☻ ☺

More music to make you smile!

[⊙_⊙] – Ah!Puch! xoxo

♫ ♫ ♫ Out!Hear! Soundwalk, Royal National Park, NSW, 25.08.12 ♫ ♫ ♫

On August 25th, 2012  ( ( ( Out Hear ) ) ) Ah!Puch! & The West Head Project organised a soundwalk in the Royal National Park, NSW featuring Tota, a travelling Japanese shamisen player, Jim Denley an influential figure on the Australian post-jazz music scence, Peter Farrar, Dale Gorfinkel, Moniker Gronks & Lochie Bradfield. Here are some pics & a video from that day. Be sure to check  ( ( ( Out Hear ) ) ) for more soundwalks happening around Melbourne & Sydney over summer. Enjoy!

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Out HearAh!Puch! & The West Head Project Co-present:
A Soundwalk and Performance in the Royal National Park, NSW
Saturday August 25th
Featuring Tota (Japan) on shamisen, Jim Denley on saxophone and Peter Farrar (sleeping)

10.22 train from central station arrives cronulla 11.12
Ferry from Cronulla Ferry Wharf at 11.30am to Bundeena
Meet for the train to Cronulla from Sydney Central Train Station at 10.22am (arrives Cronulla 11.22)
45min walk to The Cobblers
Last ferry back is 6pm.….

(((((( 0))))))

Visit and for more music.

♫ ♫ ♫ Ah!Puch! presents Lebeha Drummers, Hopkins, Belize ♫ ♫ ♫

Belize is a diverse, mixed up little country on the coast of mainland America – wedged between Mexico to the North, Guatemala to the South and West, and the Caribbean Sea to the East. Indigenous Mayans, British colonialists, shipwrecked Garifuna fisherman, Mulatos, Creoles, Mestizos, Chinese and even the Amish and the Mennonites, can all be seen riding around the country in retired US school buses. Reggae jams pumping, hurtling down roads lined by jaguar filled jungles, with fleeting glimpses and panoramic vistas of the Caribbean Sea, complete with palm trees, fishing boats and cabanas.

Gaining independence from Britain in 1981 (it was previously British Honduras) the mainland country sways to a distinctly Caribbean vibe, with English as its official language. Many people there profess music to be the main cultural asset, though it is often hard to find live music, beyond the locals’ penchant for karaoke in beachside bars, where the rum costs less than water back home in Australia. Everyone agrees though – the music of Belize is to be found in the South of the country, where many of the Garifuna people live.

The Garifuna people are now found all along the Caribbean coast of Central America – in Belize, Guatemala, Honduras, Nicaragua and Costa Rica. In 1635 a ship carrying African slaves, predominantly from Nigeria, capsized in the Caribbean Sea. Some of the slaves were able to make it ashore to St. Vincents Island where they began relations with the native Indians, the Arawak and Red Carib people, who had migrated from Guyana and Venezuala respectively. After a century of integration, and impressive reproduction rates, the Garifuna became the dominant group in St. Vincents’ society, causing social ruptures and rifts. Soon the French were involved, and then the British. Decades of war ensued and the Garifuna were deported to the Honduran island of Roatán, where they continued to flourish and procreate. Forced to flee yet again after the republican revolt in Honduras, they continued their exodus, in ever increasing numbers to the southern Belizean coastline in 1832. Today the 20,000 or so Garifuna people make up 6% of the Belizean population.

We found some live music in Hopkins, a small Garifuna fishing village just south of Dangriga – a larger Garifuna fishing village with a Rastafari culture – think tropical heat, fresh fish, weed, reggae and t i m e . We had to hitchhike with some Mennonites from Dangriga because the bus wasn’t coming that day, or maybe it was, or was it yesterday? Or maybe it wasn’t on Thursdays, but Fridays? No one could be sure, yet everyone had an opinion about when the bus was or wasn’t coming. All agreed though, we could catch it from where the main street and the river intersect…That’s if it showed up – which it didn’t. All I can say is thank the lord for the Mennonites.


Once in Hopkins we found the Lebeha Drumming Centre, at the Northern end of town. The centre was started 10 years ago by Jabbar Lambey, a Garifuna drummer and Dorothy Pettersen, an ex-pat from Canada. We entered in to the neatly kept grounds and met Jabbar. I asked if there would be any performances coming up, as I was interested in making some recordings. He explained that he could get some people together and we could make some recordings that evening.

We returned that evening to find Jabbar, Warren and John ready with their drums, which are made in nearby Dangriga by Austin Rodriguez. The drums are made from mahogany and mayflower woods with animal hide skins, including the Primero (first drum) the Segunda (the bass drum), shakers which contain seeds from a fruit tree inside a calabash gourd, and turtle shells – quite literally a turtle shell strapped around the percussionists neck and struck with soft mallets.

Garifuna music is quite different from the music of the rest of Central America. The most famous form is Punta, while other forms of Garifuna music and dance include the hungu-hungu, wanaragua, matamuerte, sambai, paranda, berusu, and punta rock; some of which can be heard in these recordings.

In 2001, Garifuna music was proclaimed one of the ‘Masterpieces of the oral and intangible heritage of humanity’ by UNESCO, along with Garifuna language and dance, though as the Lebeha Drumming Center says on its website ‘this does little to help the hand to mouth daily existence of the people. Tourism and escape to the U.S. offer some consolation and money but there are few opportunities for the practicing masters of the tradition; some of the finest elder musicians are now more conversant with a bottle of rum than with a drum. Fortunately the musicians at the Lebeha Drumming Centre are keeping the tradition alive and kicking.

To learn more about the Lebeha Drumming Centre or about Garifuna culture in general, check out these links –


☮ ☯ ♫ Lebeha Drummers Video, Hopkins Belize ☮ ☯ ♫

☮ ☯ ♫ Photos from Belize!!! ☮ ☯ ♫

☮ ♫ ☻ Kids sing National Anthem, Hopkins, Belize!!! ☮ ♫ ☻

Kids singing Belize’s national anthem in Hopkins, Belize

O. Land of the Free by the Carib Sea,
Our manhood we pledge to thy liberty!
No tyrants here linger, despots must flee
This tranquil haven of democracy
The blood of our sires which hallows the sod,
Brought freedom from slavery oppression’s rod,
By the might of truth and the grace of God,
No longer shall we be hewers of wood.

Arise! ye sons of the Baymen’s clan,
Put on your armour, clear the land!
Drive back the tyrants, let despots flee –
Land of the Free by the Carib Sea!

Nature has blessed thee with wealth untold,
O’er mountains and valleys where prairies roll;
Our fathers, the Baymen, valiant and bold
Drove back the invader; this heritage hold
From proud Rio Hondo to old Sarstoon,
Through coral isle, over blue lagoon;
Keep watch with the angels, the stars and moon;
For freedom comes tomorrow’s noon

Arise! ye sons of the Baymen’s clan,
Put on your armour, clear the land!
Drive back the tyrants, let despots flee –
Land of the Free by the Carib Sea!

☮ ☯ ♫ ☻ ☺ PROPHETS & JABULA ☮ ☯ ♫ ☻ ☺

There’s a big weekend of music coming up in Melbourne, for those of you not heading out of town to Golden Plains! Including 6 performances by everyone’s favourite originators of the stylefree movement PROPHETS! Featuring Birdbrain, Ctrl-Alt Man, Groovy G, Finntaz, and your humble narrator, Ah!Puch!

You can catch the PROPHETS performing here:

Saturday 10th March

2.15-3.15pm Moomba Festival at ArtPlay, Birrarung Marr (down by the river next to Fed Square)
4-5pm Westspace Gallery 225 Bourke st, Melbourne.
8-9.30pm The Horn Ethiopian Restaurant, 20 Johnston St Collingwood. Followed by The 7Ups Afro-beat ensemble.

Sunday 11th March
11.45am -12.45pm Moomba Festival at ArtPlay, Birrarung Marr 
3.30pm-4.30pm Moomba Festival at ArtPlay, Birrarung Marr

Monday 12th March
3.30pm – 4.30pm
 Moomba Festival at ArtPlay, Birrarung Marr
A glimpse of PROPHETS performing last time they performed in Melbourne –
Also on Monday 12th March, JABULA! featuring Tawanda Gadzikwa, Ajak Kwai, Passi Jo, Gerald Frederic, Karen Berger, and Lochie Bradfield will be closing the Moomba celebrations with the Letter String Quartet and Asanti Dance Theatre.
Catch them at 8.30pm on the Main Stage!
Enjoy the long weekend!


Please note that DJ/Rupture has pulled out of his Australian dates, including Thunderrclapp!

Fear not though – the show will go on!

We’ve still got the Nuba Mountain Cultural Society of Victoria Inc, Matthew Brown, and the Thunderrclapp!DJs!, it will still be a Full Moon, and the first 25 people through the door will still receive a free copy of ‘Backbone’!

And on the plus side? Tickets are now cheaper! $10 at the door!

DJ Rupture’s loss I say! You can’t stop the Thunder!

See you there!



¡¡THUNDERRCLAPP!! is here!!! ☮ ☯ ♫ ☻ ☺ ☮ ☯ ♫


Ah!Puch! is proud to be involved in organising this very special event – featuring international DJ Rupture, local DJ Butt, the traditional singing and dancing of the Nuba Mountain Cultural Society of Victoria Inc, and experimental Melbourne musician Matthew Brown! 

And in true Ah!Puch! style, it’s going to be a FULL MOON!

When? Thursday 8th March

Where? The Mercat

Click here to buy tickets!

Click here to check out the ¡¡Thunderrclapp!! blog!

[⊙_⊙] – Happy Year of the Dragon 2012! ☮ ☯ ♫ ☻ ☺


Happy Year of the Dragon, 2012! Please excuse my extended absence!

As I said in my last post – I’ve been travelling through the USA, Mexico, Belize and Guatemala – and managed to make a few field recordings along the way for you to enjoy – including some Garifuna drummers from Belize, buskers from Mexico and perhaps a few sound walks from the USA.

You can expect more music releases, video clips, live performances and parties from Ah!Puch! in 2012.

Here’s hoping 2012 brings us all some joy, peace, music, balance & love!

In the meantime, here is a video from a trio of buskers in a market in Merida, in the Yucatan Peninsula, Mexico.


[⊙_⊙] – Ah!Puch! xoxo

☮ Gone to the Americas ☮

Hello. Just a quick post to say that I am heading to the USA, Mexico, Guatemala, and perhaps as far as Costa Rica, through Nicaragua, Honduras & El Salvador. Hopefully I will make some great field recordings to bring back for you all to hear, some nice photos for you to look at, and some entertaining videos for you to watch! I also hope to meet musicians, conduct some interviews, and visit the AACM (Association for the Advancement of Creative Musicians) , who have been very influential on my thought and music.

I’ll be back in about 5 months, so until then, take care!



♫ ☺ Kid’s Rocking Reggae on JJJ Unearthed ☮ ♥

Kid’s Rocking Reggae is now registered on JJJ Unearthed. Take a moment to register and show your appreciation for Backbone – yours, mine, everyones!

Click here to register!

Click here to go to Kid’s Rocking Reggae’s JJJ Unearthed Page


♫ ☺ ♫ ☺ Some things that have been happening lately ♫ ☺ ♫ ☺

♫ ☺ Listen to & Download Kid’s Rocking Reggae’s new single ‘Backbone’!!! ♫ ☺








☮ ♥ Photos from the ‘Backbone’ Single & Video Launch @ Horse Bazaar, June 15th 2011 ♫ ☺




Live visuals by Joel Zika

Photos byMelissa Pacella & Pitimati Nimmanheminda

For more photos check out the Facebook Photo Album here.

☮ ♥ ♫ ☺ Kid’s Rocking Reggae – Backbone Video!!! ☮ ♥ ♫ ☺

☮ ☮ ☮ Thank-You! ☮ ☮ ☮


☮ ♥ ♫ ☺ Kid’s Rocking Reggae – Backbone Launch Message For You ! ☮ ♥ ♫ ☺

♫ ‘Backbone’ Video + Single Launch Party! 15th June, 2011 ♫

Did you ever break your Backbone? Kid’s Rocking Reggae did & they’ve written a reggae hit about it! Come down to Horse Bazaar & help them launch it on Wednesday 15th June from 6-11pm.
Live musical performances by:

♫ Footy (7pm)
♫ Anbessa + Hakim (8pm)
♫ Client Liaison (9pm)

♫ Press Club (Rhys & Sashi from ‘World’s End Press’)
♫ Ah!Puch!

Live visuals by Joel Zika!

A limited edition ‘Backbone’ single will be on sale for $5 each, and if you’re lucky you might be able to get the kids to sign it for you!

Live visuals by Joel Zika!Delicious Japanese food available until 9pm, from the talented kitchen at Horse Bazaar!Not to mention all this will be unfolding during a Full Lunar Eclipse!!!
You’d be a lunatic to miss it!
Bring a friend or loved one!
Peace to the Universe! ☮ ♥ ♫ ☺
[ o _ o ] – Ah!Puch!

♥♥♥ Kid’s Rocking Reggae’s – ‘Backbone’ Teaser! ♥♥♥

☮ Photos from Kid’s Rocking Reggae’s upcoming video ‘Backbone’

Photos from Kid’s Rocking Reggae‘s upcoming video for their single ‘Backbone’.

Thanks to the family, Ewan McLeod for his help with lighting, shooting and all things green, Pitimati Nimmanheminda for all your help, James Deutsher + Bianca Hester for letting me use your cameras, Ezeldin Deng for sourcing the greenscreen, Bec Reid at Footscray Community Arts Centre for letting me use their greenscreen, and the maintenance team at the Melbourne Botanical Gardens, for keeping such a beautiful garden!

Video coming soon!!!


NEW EP!!! ♫ WiLSON – Do You Have Any Tobacco?

It’s been a while since the last post, but here it is, WiLSON – Do You Have Any Tobacco?

Currently working on a full length album this EP acts as a precursor to the album which should be finished some time later this year. Click here to listen to the album’s distant cousin –WiLSON – Do You Have Any Tobacco?

Enjoy!  ☮ ♥ ♫ ☺☮ ♥ ♫ ☺☮ ♥ ♫ ☺☮ ♥ ♫ ☺☮ ♥ ♫ ☺☮ ♥

☮ ♥ ♫ ☺ Happy 2011 ☮ ♥ ♫ ☺

Happy New Year everybody! I know it’s February already, but better late than never, right? 2011 is looking like it will be a busy year for Ah!Puch! A new album from my pet project ‘WiLSON‘ is well under way and will hopefully see the light of day before mid-year, a film clip for Kid’s Rocking Reggae’s ‘The Biggest Bone’ is in the works, a brand new website for Ah!Puch!, new tracks from Ponytail, including a remix by Sammy K, as well as the debut album from the Fruitiest Preacher from the Land of Marsupial, Monte Morgan, possibly a new album from Kingston. Next week will see the triumphant return of Data Pigeons’ Charlie Crang to the studio, after his much deserved sojourn in New York City.

In the meantime, here is a message from Kid’s Rocking Reggae ☮ ♥ ♫ ☺

♫ NEW MiX – 3 Blind Men Sing, Botswana

The third and final installment of my African Field Recordings is here – a collection of songs from 3 blind musicians living in Gaborone, Botswana. Check it out here.

NEW MiX – Block 5 Primary!

Next up is an audio & video set recorded at Block 5 Primary School, in Gaborone, Botswana.

Hypnotic kids is all I can say.

Listen here – Block 5 Primary!

NEW VIDEOS – Block 5 Primary!

recorded at Mophane Primary School in Gaborone, Botswana, June 2010

NEW MIX – Sly Mbira Music / King George Plays

Back home in Melbourne, with recordings, video & audio from my trip to Africa.

First up is a mixed set recorded in Victoria Falls, Zimbabwe.

Sly Mbira Music / King George Plays

Check it out here!  [☉_☉]

Sly Mbira Music Video

‘Sly’, playing a solo mbira piece, entitled Chipembere (Rhinoceros).

It was recorded in Victoria Falls, Zimbabwe.

For the full audio recordings, click here.

Gone to Africa ☮

Hello. Just a quick post to say I’m heading to Africa. Hopefully I will have the opportunity to make some interesting field recordings while I’m there, to bring back and put on this site for all of you. Peace. Lochie.

☮ ♥ ♫ ☺ Ah!Puch!Live! ☮ ♥ ♫ ☺

Ah! Hello all. Thank you to all of you who came down to the Ah!Puch! Compilation Launch No. 1 Party last week. It was an amazing night, with brilliant sets from Varuni, Bangs & Ez, The Slum Boys, Monte Morgan & TGV. So amazing that I recorded the entire evening and have created a special live mix for everybody. So for all of those of you who were there you can experience some flashbacks, and for those who weren’t you can hear what you missed out on! I’ve also put some videos up of Bangs & Ez + Monte Morgan. Enjoy!


Bangs & Ez

Ez & Bangs

The Slum Boys

The Slum Boys

Monte Morgan

Monte Morgan



Ah!Puch!Compilation Launch!

No Worries Compilation!

The No Worries Compilation is finally finished. Read about the artists here or read the recording journal here. Enjoy!

Data Pigeons site launch!

¡Happy Year of the Tiger!

Happy   Year  of  the  Tiger  from  ¡Ah!Puch! xoxo

Sudanese Choir @ St Paul's Cathedral, Melbourne, Australia 07.02.10

I made this recording recently at St Paul’s Cathedral in Melbourne, Australia. The day was celebrating Saint Joesphine Bakhita. I am hoping the choir will be involved with the upcoming Compilation, however at this stage it is uncertain.

Below is a biography of Saint Bakhita that was included in the afternoon’s proceedings.

St Joesphine Bakhita

Born is 1869, she spent the first 7 years of her life in Al-Qoz, Darfur. One day, she strayed outside the village and was kidnapped by slave traders. So traumatised, she forgot her own name so they called her ‘Bakhita’ – Arabic for ‘The Fortunate One’.

As a slave she was sold from one master to another and she suffered terrible degradations at their hands. However she demonstrated ‘an inborn goodness and gentility’ that protected her virtue. She was eventually sold to an Italian Consol who took her to Italy and gave her to the Michieli family, where she nursed their young daughter for 3 years. While Michieli was setting up a business in Sudan, his wife, Mara Turina, returned to Italy to clean up affairs. This took longer than expected and, during a temporary visit to Sudan, Maria left her daughter and Bakhita in the care of the Conossian Sisters. It was during this time that Bakhita developed the desire to become a Catholic. When it came time to return to Sudan Bakhita flatly refused, wanting to stay and finish her catechesis. As the same time her legal status was before the courts and it was eventually determined that because slavery did not exist in Italy. Bakhita could not be forced to return to Sudan with the Michieli family.

Free to choose, Bakhita stayed in Italy. On January 9, 1890, she was baptised ‘Giuseppina Magherita Fortunata’, immediately confirmed and received First Communion. Six years later, she took final vows into the Conossian order.

She died in 1947.


Ah!Puch!Studios is a music studio in the heart of Melbourne, Australia. All sorts of things happen there, both musical and non-musical. This blog is a place to show people some of the things that occur there. Hopefully it well generate further interest, thought, excitement, involvement and collaboration. There is a wide range of sounds that are made there; Sudanese Pop, Sufi Trance, Congolese Rhumba, African Hip-Hop, Experimental Noise, Psychedelic Space Rock, Microwavic Midi Orchestras in the Land of the Marsupial, Disco, Mambo, Tropicalia, West Papuan Folk and Reggae, R&B, Island Reggae, Country&Western, Blues, Electronica, Sri Lankan Electro-Pop, Free Jazz, Brazilian Reggae, Pop, Techno. And as more and more musicians come to play and experiment in the space slowly these various styles are mixing, fusing, breaking down, building up, with all sorts of different sounds emerging.

Mayan Codices


Where is ¡ah!puch!?

Just now I am learning of some of Puch’s other incarnations. This time as a villain in the superhero comic Thor. I think back to the first time I saw Ahpuch depicted in visual form; a skeleton adorned with bells in The Dresden Codex, which is thought to be the earliest known book from the Americas, and the most intact and complete of the Mayan Codices surviving today. Sometimes he is depicted with the head of an owl. Supposedly to this day some Mexicans of Mayan descent believe that an owl’s screeches signify imminent death; “Cuando el tecolote canta … el indio muere; When the great owl sings, the Indian dies.”

So I say ah!puch! But sometimes it sounds like ah!Pook! And sometimes it only sounds like breath escaping between my teeth.

Ah!Puch! has many different forms, and it is rare I ever see him look the same…I am often surprised that I recognise him at all. And of course I use the name Ah!Puch, as a person who adopts a stray cat gives it a name. I call the cat Fritz even though I know that that is not its name. I could just as easily call Fritz Herbert, Frank, Nanuknuk, Taco, Sketch…And so Ah!Puch! knows other names, other forms: Yama, Mot, Yanluo, Anubis + Osiris, Ghede, Azrael, The Grim Reaper…Ah!Puch!


Bradfield Lochie

Ah!Puch! is here…”












Where is Ah!Puch?

Ah!Puch! is here.

¡ah!puch! is here!