Interview: Christopher L Ghill of Bunyip Trax
This mysterious Australian label run by Christopher L Ghill and Joshua Petherick recently came onto my radar when I heard Urchyn’s ‘low lying plains’ LP. The mixture of lofi, ambient, and noise spread across that LP grabbed my attention and I contacted Christoper to find out more…
How and when did Bunyip Trax start? Had you released music before?
Bunyip Trax started around 2006 with the recording of the Galactic Locksmith LP, which took a lot longer to come out than planned as records do at times. I think the vinyl itself took a year due to the pressing plant being a little shitty… Then Joshua Petherick who co runs the label, although not as much in recent years, still a pivotal cog in the operation, had moved to Europe and got the printing done there, so more time went by. Records were in boxes at different houses, sleeves somewhere else etc and it came out after about release 20 or more…Before that I had self-released some CDrs on 6months ahead 6months behind and maybe another label I can’t think of, but yes mainly small solo releases to give away and swap at shows.
Are most of the artists on the label aliases for yourself, or are there other collaborators too?
Yes mostly myself, Joshua, or us together, and with other people, we purposely don’t giveaway too much in the releases and online to add an air of mystique, so that the releases can take on their own lives once they have entered the world. I think this is one of the qualities of physical releases, that they can get lost and take on new meanings for different people.
There’s quite a difference between Karot by Galactic Locksmith, and the new Porpoise tape Pheasant / Bee Pollen. The earlier release is like a party mix tape, while Porpoise is harsh noise. Is there a specific release you think defines your label’s sound?
I don’t think there is one release that defines the sound of Bunyip Trax, but ambience and atmosphere plays a pivotal role. As a micro label/vanity project I think it is definitely about me, and others who have been on releases, our changing tastes, and reflecting what is happening around us.
Can you talk a bit about how you make your music? Is it improvised? What instruments/tools do you use?
Yes mostly improvised, but with a lot of post-production in Ableton Live and tape manipulation, which is also improvised… I use mostly Casio Keyboards and some sleep/white noise machines, some modded devices brought on eBay, small percussion, radios, TVs, online drum, synth, guitar emulators, and sound samples from life and YouTube sounds. In the past I used mainly my voice, but have moved away from vocals over the last 5 or so years. Sony and RadioShack Walkman tape players with multiple speeds have always played a role, along with their radio static. Tape is a format I grew up with and part of the ambience I alluded to before, it has a space you occupy as a medium aside from the physical space you are in when listening to it, I think this is always important when recording, situating oneself in, or in relationship to the equipment.
When I heard Urchyn’s low lying plains it was on a loud stereo and I was blown away. Later I listened to it on my laptop and was thrown by the almost completely different experience. Because the way we listen to music has changed (laptops, earphones, compress/uncompressed files, etc.), has it changed the way you create or listen to music?
Thanks, yes it is quite different. With low lying plains Bobby Bravington mastered it for vinyl, so I can’t take full credit for that. But I definitely think that even a humble Casio sounds very rich and deep through a stereo, or live as opposed to on computer/phone speakers. I like all types of audio qualities, including super compressed ones and digital clipping, I think it depends on the intent, and my taste. I don’t know if it has consciously changed my approach, but the relationship more generally of analogue and digital has been a factor in thinking about recording, how things operate on CD, file, online vs tape or record. Sometimes I like that it’s different, and sometimes I compromise for speed in getting something out into the world (does an edition of 10 tapes count as being in the world, LOL).
I listen in a lot of ways, on tape and record at home, small snippets on YouTube or Bandcamp, on Apple Music and on an old mp3 Walkman when traveling around the city. I really think experiencing different spaces with recordings extend them, like when people talking or train sounds overlap with harsh noise or ambient, or bird sounds.
Only a few releases from the Bunyip Trax back catalogue are online. Is there a reason for this?
Yes and no, partially because I haven’t got round to it yet, and partially because I liked that there are some recordings that are a mystery. But I think over time I will upload older releases…
Everything on the Bunyip Trax Bandcamp is available under a Creative Commons license which allows people to freely share/copy/redistribute the releases. How does this impact the label?
It doesn’t have a huge impact on the label, it isn’t there to make a profit, or mostly to even break even, more because I like sharing what I enjoy making. I like the idea that someone somewhere in the world may bootleg/release a recording themselves, but this will probably not happen, the challenge of something being free is not as alluring as having/stealing/bootlegging something that is forbidden fruit. Also using a lot of sampled sounds I hope that the releases could become sound sources as well maybe?
What’s the turnaround time to get a release out these days, and do you get everything pressed in Australia?
With the Urchyn record, it was pressed at Zenith, and they are quite quick now (pre pandemic), maybe two months from memory. But as a label I don’t do a lot of records because it does take a few months, the editions are too large, and it’s expensive compared to tape. I’d prefer to do 10–20 of a release. But I like records as a format, just very occasionally. The tapes I just find in op shops for recycled, and eBay for new. This influences the amount of tapes in edition and length of a release, and with the recycled ones (Porpoise releases many) I make a recording that can work longer or shorter to suit multiple length tapes. I am not a fan of tapes with lots of silence at the end or single sided tapes, so I avoid that.
You mentioned giving away CDrs at shows before starting Bunyip Trax, how does distribution work for you now?
Word of mouth pretty much, trades, World Food Books (which Joshua Petherick runs), Lulu’s, Garden Seat/Static Open, and a few other small retailers, and gigs. I am pretty bad at distribution, but have a very small audience for the styles and approach of the music/noise I make. Instagram has worked lately, and then I give a few away here and there to friends who also give me things sometimes, or are just supportive of the projects.
Finally, what’s the best way for people to keep up to date with your releases and to find out where you’re performing next?
By messaging me to release, collaborate or play a show in their backyard/space, or on instagram, my website and bandcamp. Or for a monthly e-newsletter send me your email: chrislghil at gmail. •
For more information on Bunyip Trax and Chris’ work see:
instagram.com/christopherlghil
This article was originally published in The Shadow Knows Issue #3, July 2022. Buy the fanzine here or read more at our website.
