INTERVIEW: The Space Between Us
Hannah Doody is crafting The Space Between Us label into one of Australia’s finest…
We've done our bit to cover Brisbane talent, however, when the music comes from acts like Penelope Two-Five or Dream Coast, it's hard to ignore. It's no coincidence they are also stablemates on The Space Between Us, a Brisbane-based label quietly highlighting the city's promising production talent. In fact, we would say that TSBU has to be the first label on your list to hit up if you want to hear what’s happening up north (east).
If you need more evidence, check no further than the label's most recent release, the Hybrida EP, a selection of singles traversing techno, soundscapes, IDM and more. The whole EP feels like long lost tapes unearthed from a random studio where halcyon acts like Future Sound of London recorded sweet splif-laden jams. A singles compilation is usually a chore to sit through, but on Hybrida the tracks are so interestingly varied it engages you right through to the end.
DJ Speed's 'Transport' is psychedelic but playful, its seductive beat reminiscent of nineties chart-toppers Enigma. On 'Marvie', producer Fatshaudi's creativity is on full display with oscillating bass slowly melting into a cinematic soundscape. The energetic electro of Axon Growth Factor 'Proto Psy Workout' jumps cheerfully at you like it's trying to get your attention as you walk into your surprise birthday party. The EP is contemporary without being overly fashionable and acts as an exciting showcase for the talent bubbling away in the Queensland capital.
Brisbane: A lovely city
As The Space Between Us label manager, and proud Brisbanite, Hannah Doody has seen her local scene bristle with a renewed energy and inclusivity. ’Brisbane’s dance music scene has exploded so much over the last few years - it’s been quite incredible to see. Up until the pandemic hit, it was going off in a big way.’ Due to its smaller population, compared to Melbourne and Sydney, many might overlook the city’s club scene, but as Hannah offers, that might be the reason you need to pay attention. ‘We may lack the sheer volume of punters that other Australian cities have, but instead, we have parties that are perhaps more intimate. There’s something about that which makes them so special.’
The BrisVegas moniker seems a tiny bit less ironic when you consider the city’s weather. It lends itself to regular open-air events including beach and boat parties: ‘Yeah, just before lockdown happened, there was a pool party hosted by Shandy and Gobstomp at the Spring Hill Baths. The love and energy in the air that day was just amazing. One for the books!’.
Venue-wise, current staples include Black Bear Lodge and Laruche, but like Sydney and Melbourne, the onus is on promoters to find new and unique venues. Luckily, the city is blessed with many crews doing just that.‘There’s honestly too many promoters to name. SHADE, Bad Taste House Collective (BTHC), and A Love Supreme have all been bringing incredible artists to Brisbane for so many years now. Pray Tell, Inner Circle, GRID and Death Before Silence all bring their distinct flavours to the table.’
It’s against this bustling backdrop that The Space Between Us launched about four years ago. Its first incarnation was as a music publicity brand which started after Hannah and friend Emma Stevenson found themselves regularly writing about and promoting the work of their friends. Today it has less focus on PR and mostly serves as a label and artist management collective. And the person overseeing it all is Hannah, a bonafide music lover who organically evolved into her role as a label manager. ‘It’s been a lot of trial-and-error as I’ve tried to work out which parts I enjoy most.’
Her initial introduction into the scene was as a punter, and from the start, inspiration came from homegrown acts like Emma Stevenson (Gallery B), Jaime Forson and Jenny Jay (Jen-E). Also name-checked are female pioneers like Suzanne Ciani, Laurie Anderson, and Laurie Spiegel, while she reserves extra praise for the talented Roza Terenzi: ‘She’s an incredible DJ and producer’. It wasn’t long before Hannah took a more active role in the scene. A stint at uni studying journalism led to music writing for online media like Melbourne’s Six AM at the Garage crew and the now-defunct Pulse Radio.
Eventually, she got pulled in to the gravitational field of Djing. After dabbling in a bedroom setting, her first club performance came unexpectedly: ‘One day in 2018, friends of mine, Jimmy and Kristian who runs the SHADE parties in Brisbane, asked me to play my first support slot at a park party with DJ Slyngshot.’ The rest, as they say, is history, and today Hannah D is regular booking on various Brisbane events.
A glance at the TSBU discography reveals a roster filled with Brisbane acts. As Hannah explains, that's not by design and more a reflection of the quality Brisbane offers: ‘The signing of all local acts did not happen consciously whatsoever - it came about purely from not feeling the need to branch further afield to hear great music.’ That is the same sentiment that went into the new locals-only Hybrida EP: ‘I knew there was more than enough music around to fill one (compilation).’
The consistency of her quality signings has led to a label roster filled with young, uncut gems in a relatively short amount of time. Hannah undoubtedly has an ear for talent, so what advice can she offer up-and-coming producers looking to get signed? ‘I guess having a clear idea in your mind of where you want to go and where your sound might fit is helpful. Also, just putting yourself out there and trying to build relationships as much as possible - talk to people and ask for feedback. Even if it doesn’t yield what you want straight away, you’ll always be learning.’
The Virus Between Us
It was only a matter of time before our chat turned to the virus in the room: COVID-19. It’s been a challenging time for everyone, but how has it affected her personally? ‘At the start of isolation, I moved into a house with very close friends, which I feel so lucky to have done at that moment in time. We’ve been cooking, drinking nice wine, and playing cards and ping pong as a little family. I’ve also been listening to and finding a tonne of new music.’ That sound quite delightful ha. Everyone’s self-isolation stories are so unique, and for many, this has been a period of self-reflection and growth. ‘Definitely. I do feel very fortunate that the pandemic has not had such a negative impact on myself. I’ve mostly been enjoying this hard reset and the positives it offered. For me, it just meant less time for going out and more time for introspection and ‘self-care’ if you will. Whether that means to get things done creatively - or to just not.’
With the music industry, in particular, massively affected, the glass-half-empty people amongst us are feeling despondent about the future. Hell, there is even a dedicated Wikipedia page on the pandemic's impact on the global scene. Hannah's outlook on this subject is sanguine. 'It's hard to say exactly what it (the future) will look like, but I feel that the industry, from promoter to artists, labels and everything in between, will approach the next phase with a very different mindset. It's a clean slate - and there are so many possibilities ahead.'
One thing everyone can agree on is that the post-COVID explosion of creativity will be something to look forward to.' Yeah, I feel that the vast array of emotions that this period of isolation has brought to light for many people will have a huge impact on the industry. Artists will want to express this in their music, and I’m sure we’ll experience many different feelings here (perhaps a more introspection?). I think event organisers will be thinking outside the box; and be more attuned to creating elements within parties that cater to, and respect, different kinds of moods. Post-COVID will be a very exciting time!'
It is pretty evident that Hannah is a card-carrying member of the Glass-Half-Full Club, and her enthusiasm for her local scene and label is infectious. Our parting question is a seemingly easy one, but in hindsight, for a dedicated label manager like Hannah, probably impossible to answer: if she could only play us one track from her label which one would she choose? 'That's a very difficult question! And I'm going to give a boring and diplomatic, yet truthful answer: I love them all too much in their own way to say just one!'
To quote a wholesome meme: may we all find someone who loves us in the same way Hannah cares for her roster.
