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Patrick Lindsay

Author: Alias
Sunday, 1 January 1995
Flashback to New Years Eve 1997. Hardware Universe at Kryal Castle,Ballarat. Patrick Lindsey was performing his first show on Australiansoil, in front of 3,500 eager punters, all waiting for his unique blendof funky techno to make them move well into the night. If it were onlythat easy. The venue was to organise a generator, but somehow it slippedtheir mind, thus it was up to the Hardware crew to organise alternativearrangements. They did, and the generator arrived. Unfortunately, justprior to Patrick's performance, one of the distribution boardsmalfunctioned, which caused problems and a power failure.

So Lindsey stands there, red faced and rather embarrassed, with the onlysounds emanating from the speakers being an aggravating hum. Without anykeyboards or computers working, Patrick was stuck. He waved RichieMcNeill (Hardware promoter) over, who fixed the problem, and whilstRichie was tinkering with the wires and other technical matters, Patrickbusted into one of the best beatbox performances ever heard around theBallarat district, a place renowned for its beatbox exploits. The crowdwent absolutely mad for it, and it was Patrick's uncanny knack of beingable to turn a negative into a resounding positive which has placed himfirmly in the hearts of Melbourne party goers.

But who exactly is Patrick Lindsey- We know he has released tunes onsadly departed German label Harthouse, owned by Sven Vath, including thefunky Prepare To Jam, the banging The Phat Jive, and possible hisbiggest release, Male Phonk, which appeared on the Harthouse 100compilation, and was caned by DJ's all over Europe and the world. WhenHarthouse disbanded, Lindsey set up his own label, School Records, withhis studio partner and friend Coby Johnson. Whilst School has only beenused as a platform for Patrick's releases until now, next year he plansto release other artists work on School, including his collaborationswith German DJ Monika Cruise. Patrick took some time out from preparinghis live set to talk to Zebra.

How have you seen your sound progressed since you first began composingtunes on your Commodore 64-

"It's a long process. I had a C64, and then after than I had an Amiga,and an Amiga is kind of a sampler, and with that machine the musicchanged. After that it just went on and on, and I bought anothersampler, and I think it started for most people like that. Somehow youstart.....and then you have a studio later on, y'know!"

What is the feeling you get when you hear DJ's caning your tracks in theclubs and on the radio- Satisfaction, pride-

"Yes! Sure, that will never change!"

So it's an indication that you are doing something right. Especiallywhen you have DJ's you respect playing your tunes.

"Yeah, I think that is very important because when that happens you cansee that you have made something right, and people know your name. WhenI started playing eleven years ago, it was a big treat to make music,but I could only record it to a tape and I could play it. And I was likeso excited about it. And then you start to put out your first records,and when people play it over the radio and in clubs I feel incredible.And this year I can come back to Australia and play and see the country,all these incredible things get to happen to me just because I happen toplay music and people like my music, and because of that I can tour allaround the world. So when I hear people playing my music I know that'yeah, some people know my name and like my stuff'. It's great, and thatwill never change. To hear people like my music is unreal."

Speaking of people liking your work, your gig last year at HardwareUniverse impressed many people. Everyone was blown away by thebeatboxing and the spontaneity of the performance.

"(Much laughter) Yeah! The generator went off, and I had to rock themstill! It was good that a microphone was still on! I don't know if

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