The Loin Brothers
The Loin Brothers are a pretty sweet act to coming out of Sydney. So far they have released Heavy Helmet a space-y Moroder-like jam. They are playing Saturday the 5th of September at Sugar, which is probably worth your while dropping by to check out.
Winston:How did you guys first get into electronic music?
Saliva: I think the first time I heard synthesizers in music was listening to “War of the worlds” when I was about 8 or so, and was always intrigued how the space sounds were made. When I was a bit older I used to hang out at a studio this country and western band had set up. (the town i grew up in had a population of about 150, so I took what I could get 
One of the guys brought in this little Korg synth and let me play around on it, and I think from there on i started obsessing about them.
Silvio: An intersting question to answer for me as there are few tunes that I like that are purely electroinc. There is usally a live intrument component to the stuff I like. I got into dance music say 12 years ago tho and have not turned back. Nothing Earth shattering really, just found myself at a dance party, dug the hypnotic grooves and got my dance on.
W: Really love the new single are there plans for anymore?
Silvio: Absolutely. We are constantly in the studio of late. Our remix of the Aston Shuffle has just been released and we are just putting the finishing touches on our next OG now. We make music because we have to. It’s much more preferable than a padded cell.
Saliva: Yeah, we have got a few things in the pipeline, we are keen to play around with different styles, such as Prog rock, some more housey stuff, which should be fun.
W: Where did you get the idea for Heavy Helmet?
Saliva: One night I was up late watching “Mysterious cities of gold” and must have fallen asleep, when all of a sudden Esteban appear in my lounge room holding a bass with golden strings. He told me that the bass contained a powerful spirit. He said that only one man could release the spirit and he thought that I was the one, and to unleash it I needed to play from the heart. So i started jamming away and from there everything got a little hazy… and all of a sudden i woke up lying on a beanbag clutching my bass, and everything was covered in coconut oil. I got up and plugged in my bass and started playing the bass line to heavy helmet, I thought it sounded pretty sweet, so I showed it to Silvio and took it from there…
Silvio: Long John came to me with this bassline… It spoke of space violence and cosmic stallions with multiple throbbing gristles and it’s story had to be told.
W: How did you get Mock and Toof to remix it?
Silvio: Nathan from Future Classic hooked that one up. They were out here playing a show, and somehow heard our demo and really liked it… i think they said something about it havin a Rub n Tug vibe. nice words to hear for first time producers.
W: So you guys are involved in Paradise Lost, which I hear is quite a party. How did that start?
Silvio: I met Brut33 (Cosmic Seadog) around hmmmmmmm 4 to 5 years ago or so. We hit it off straight away, i guess we were at the same kind of headspace, a little bit baffled as to why Sydney did not have a solid disco/house etc party happening at the time. Going to dance parties and leaving wanting more. Sure there were parties going on but none seemed to focus on this groovy fun stuff. Too many parties and DJs taking themselves too seriously, playing all tough, riding on the name of a big DJ and not focusing on the needs of the party. So Paradise Lost was formed – the name obviously a statement at the time referencing the Paradise garage and asking where has the love gone!
So a year or so onwards we decided that PL needed more ideas, more resources to realise our vision. Mikey Miutante, Harry Sounds, James Bucknell, James Weirick and Mike Masters joined our crew. This enabled us to take ourselves out of the clubs and into warehouses, art spaces and other alternative spaces and use a non-profit model to boot. While working with so many people on what really is a somewhat of an urban ritual is very much a challenge, we have found that its often those parties where in the lead up there is the most tension between members that the party is at it’s peak.
We have been blessed in that a venue always seems to come about for us, and encountered many amazing helpful people along the way – though still takes alot of hard work to get a party of this nature happening.
Saliva: I first heard about PL when I moved down from Brisbane to Sydney, my girlfriend told me about a party that I should check out, so I went and checked it out and was blown away by the vibe. ever since then I have been a big fan, and admire the guys for the effort they put in.
W: I guess you could loosely be called ‘new disco’, how do you guys feel about that term? I always find it a bit derogatory because what a lot of the acts that are called that are really doing something totally different than just recycling disco.
Silvio: It’s cliche I know in this scene to say it but I’m really not into genres. If it’s good I’ll play it. There is something about the word “Nu” that makes me cringe tho I must say. It sounds clinical and sleazy in a music nerd kinda way. But hey, people can call our music whatever they like really. Once it leaves our studio then it’s out of our hands in a way. We throw the lil baby turtle into the ocean and off it goes…. hopefully destined for a long life of sweet seagrass, barnacles and lady turtles and not sucked stright into the silent nothingness of a dark abyss!
These categories are there i think tho often just to make record stores more manageable. So when you are in there you know it’s more likely you’ll find stuff you are looking for in the ‘Nu Disco’ bins rather than the trance bins. The record companies label the music to make this selling process easier. The listening public / DJs etc well they got no excuse. Take back the music people 
The other thing is, hell I’d love to hear some people do some more classic sounding disco stuff. Proper live band stuff, with wobbly expressive tempos, lively strings, super powerful diva vocals and top notch production etc.
Saliva: I think Silvio pretty much summed it up there, I guess any new music is NU whatever, cause at the end of the day I think at the moment most music is derivative. I am really intrigued to see where the future of music lies, hopefully some kind of musical revolution….
W:Lots of DJ’s release tracks to increase their presence outside of their native city, have you guys found this happening after Heavy Helmet got released?
Silvio: Well since putting out our track we have played in Brisbane, Melbourne and playing your fine city this weekend so really can’t complain. We’ve also had some nice random interest from blogs around the globe.
W: I asked The Juan maclean this question and it got a really interesting response :- Which seminal disco re-editor/remixer would you most want to remix one of your tracks: Walter Gibbons, Tom Moulton, Shep Pettibone or Larry Levan and why?
Silvio: To be honest, a remix from any of those guys would be very well received by us. For me though if I was forced to pick it would have to be Larry. Not only is he the patron saint of Paradise Lost but I really do love his touch, particularly in that 1981-1983 period. He just had a special way about how he mixed things, he knew what to accentuate to make bodies sweat.
W: On a recent interview with Nicky Siano (coming soon I promise) I asked him “ what he thought of re-edits?” and he said that “ he usually found himself preferring the original”, how do you guys feel about the current re-edit culture at the moment?
Silvio: Well last year Paradise Lost put out an EP of edits so obviously I am up for them. To me edits have always been there. You can certainly hear the tape chops in some of those classic original 12′s. Some of those disconet versions of tracks are the seminal versions for me.
With the rise of the PC iIguess for better and for worse this now means anyone can put a tune under the blade. I do like the bootleg aspect of it all. I do like it how DJs can put material out that is made purely for dancefloors and it can bypass pretty much all aspects of the music industry in getting into other DJs hands. It’s all very DIY. Alot of these edits have become the quintessential version of the tune for the current dancefloor.
On the flipside, it’s a real shame that the original artists don’t get paid and there are alot of superflouos edits out there. However there is nothing worse that a person sayin how things ‘should’ be in an area that is a creative landscape and thus has no boundaries. The music wilderness is rich because it is just that – wild.
Saliva: I guess it all depends on what gets edited, some edits take a almost unplayable record and turn it in to something that will blow the roof off, and others I find suck the life out of a otherwise great tune. I have discovered a heap of new music through listening to edits, and then digging deeper and finding more heat by the original artists. I really like alot of the Loud -e edits, that guy is certainly a wild man….
W: What sort of tunes can we expect to hear at Sugar this Saturday?
Silvio: Before we play anything it must go through the scrutiny of the Loin Brothers auditioning couch. .. one of the toughest audioning couches going I can assure you. If you don’t have serious talent in making bodies move then you won’t be getting a follow up phone call from us.
Saliva: it’s gonna be hot and sweaty, rough and ready. Expect everything from Willy De ville to Herb Alpert.
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