- Breathtaking club music with a cinematic twist.
Corin turned heads this year—including ours—with her Enantiodromia EP on UIQ, where the hi-tech and often abrasive sounds of experimental club music were given a bass boost (and a snarl) from old-school EBM. It was a combination so genius it made you wonder, why hasn't anyone really tried this before? The way she incorporated EBM's electrified textures and distinct stomp was different than how techno producers do it—more serrated, looser, heavier. It was familiar, but then it wasn't.
That's also a great way to describe the Filipina-Australian artist's DJing. On her RA Podcast, she puts together some of the biggest names in leftfield dance music—Batu, Tzusing, Amnesia Scanner—but the way she puts them together feels more like a 1,000 piece jigsaw puzzle than traditional linear beatmatching. She weaves together strange and jagged beats like threading a needle, bracing for an intense climax in the middle that never gets old. The theatricality should come as no surprise, with a parallel career in scoring, audiovisual art and a background in classical piano (plus a love for old-school trance) that ensures that melody and grace rise above even the most chaotic moments.
What are you grateful for these days?
This year I released my EP Enantiodromia on Lee Gamble's UIQ imprint, which is a label I've always really admired because of the diverse range of artists it showcases and its visual aesthetic. It was nice to release new music after a long break and to feel somewhat connected to the rest of the world again after months of not travelling. However, it has been a few quiet months where I'm currently based (Naarm/Melbourne) as we were in lockdown for almost four months and restricted from leaving the country. It's ended now thankfully, so it's been nice connecting to the community here again and going to shows after months of cancellations and postponements.
Truthfully, after this wildcard of a year, I'm just grateful that I'm able to still work on music full-time and keep creating new things.
How and where was the mix recorded? And can you tell us the idea behind it?
I recorded this mix live at home using CDJs. I don't usually get to record my mixes live but a friend was kind enough to lend me their decks (thank you Raag). I had a lot of fun with this one, trying to really emulate the feel of my live club mixes. On my NTS radio show I try to showcase a diverse range of musical moods. However, for this mix I kept it strictly club-oriented, incorporating music from labels across the globe that I tend to go to including Yes No Wave, SVBKVLT, Infinite Machine, Timedance, Sea Cucumber, Nyege Nyege Tapes, NAAFI and also some nice unreleased music that I've received from some local producers and internet acquaintances. There's also some unreleased tracks from myself, mainly DJ tools that I've been working on and edits of forthcoming material that will be released next year.
This mix follows my usual pacing with moments of tension and release. I wanted to build up the mood, generating a sort of trance-like sonic futurist ritual, extraterrestrial textures merging and colliding into one another. I also probably had a bit of pent-up energy from being in lockdown that I needed to let go of.
I feel like most people that follow me are probably more familiar with me as a live performer rather than as a DJ, but I actually really do enjoy mixing. I like to think of it as a problem solving activity—a tetrising of layers.
You started out in music as a classically-trained pianist and ended up interested in electronic music via the more experimental end of things. How did you end up in the club music world?
I started experimenting with electronic production a couple of years after I finished studying classical piano. Initially my first productions were ambient piano compositions, but as I started to delve deeper into drum production I naturally ended up performing more in club spaces. The productions were quite synth-melodic focused and heavily influenced by trance classics. The piano element was still in there as I performed a lot with a keyboard on stage, playing the synth melodies live.
Some of my favourite early club experiences were in connection to a collective called Club Ate in Sydney which I've collaborated a lot with. Partly a club night and a body of video works, Club Ate reimagines Filipino mythologies within a queer framework to create a form of future folklore. This is the first video I collaborated with and we are currently working on the next one. Having Filipino heritage, it was a nice way to connect with the diaspora and to reimagine the club as a place for dreaming and making past or future connections.
You're also a composer and experimental sound artist, to put it broadly. How do these practices inform your approach to DJing and what you look for in club music?
Yes, I work as a composer for performance and visual artists—anything ranging from theatre, video to installation works. When making a club mix, I generally look for tracks that have interesting sound design elements, and mostly anything with industrial or trance elements. I also tend to dart around different genres, trying to make connections via texture and harmony. I also try to think of the mix as a narrative. My formula usually starts from a dark, sinister place, moving gradually to ecstatic moments.
What's one social or political cause you want the world to pay more attention to?
I think first and foremost living on stolen land it's important to recognise the struggle of first nations people here and around the world, and the ongoing destabilizing systemic effects of colonisation. There are multiple organisations to support in so-called Australia like Black Rainbow and Pay The Rent.
What are you looking forward to in the near future?
I'm super excited about my next full length album which I've just completed and is scheduled for release sometime next year. The release will be accompanied by a live AV show in collaboration with visual artist Tristan Jalleh. It'll be my first live AV show since I toured my album Manifest (Bedouin Records) in 2019. I had a few shows cancelled this year due to pandemic restrictions, so I'm looking forward to performing next year, as well as touring overseas (fingers crossed).
Amnesia Scanner & Bill Kouligas - Lexachast IX C
ORIN - unreleased
Ausschuss - Frontier Control
bela - ?? 1 Variation 1
Y-DRA - Milisi Miskin Kota
Hatechild & CHAi-t - Un Novio Gašper
Torkar - Typhaceae Benfika - Reflejo
Nahash - A Secret Christian Influence (Gabber Modus Operandi Remix)
CORIN - Dromos
NKC - Bootlicker
CORIN - unreleased
Batu - Inner Space
bonebrokk - Hyperparadox
Osheyack & Nahash - Club Apathy
Duswunder - Black Bile
Alec Pace - Non ordinary state of mind
Laughing Ears - 30°N
Night Dives - Untitled (unreleased)
Tzusing & Hodge - LCD
De Schuurman - Urban Gunz
Imaabs - MORPH
Avernian - Malleable
Stolen Velour - Onyx
Dj Würm - Forlorn Gang Pt1 (unreleased)
Galtier - Shine Forth
CORIN - unreleased
DJ Stingray 313 - Construction Materials From Organic Waste S
trayer - Brittle
Slikback X Objekt - Apex
bonebrokk - Hyperparadox (Galtier Remix)
Bonaventure - Bleu Goma
B4MBA - WEN
Lurka - ssppeedd
omrann - which mask today? (unreleased)