Interview 3D World: Bioweapon
Bioweapon and Toneshifterz also have a lot more in common than just their respective scenes. They’re all lads who hail from the South West of Sydney, who cut their teeth on the type of rave events that preceded the very party they’ll both be performing at on Saturday night, and they’re also lucky enough to be able to dedicate themselves to a militant schedule of six days a week in the studio, thanks mainly to the support of their folks who allow them to run their hardstyle empires out of the family home – for the moment at least,as they both have an eye on relocating in the not too distant future.
“There’s the prospect of moving over there and earning enough for it to be sustainable, as well as comfortable,” Tonshiterz’s Ertek says. “It’s not all about money, but there comes a point where you have to start to think about being able living off it. We’re in the studio six, and sometimes seven days a week. It’s great that we’re still working out of home, which makes it a little more affordable. But when you’re working that hard, and not seeing a whole lot in terms of royalties, and being treated like just another local up-and-comer in the scene…. You just have to do it, you just have to make that move.”
You’ll often hear the same story, whether they’re making hardstyle or house. Sydney techno prodigy Deepchild never really left the enclave of his local scene while in Australia, but his talent was well and truly recognised when he relocated to Berlin. It’s a similar story for ACT progressive maestro Jaytech, who’d been releasing sublime (and internationally lauded) music for years, but was languishing in relative obscurity until he was recognised by Above & Beyond, who recruited him as one of the key producers for their Anjunadeep label. There are countless others who’ve fled our country for proper recognition overseas – Dirty South, Anthony Pappa and Emerson Todd just to name just a few.
“Over there, if you’ve got the talent then you’re given the opportunity to work up the chain,” Bioweapon’s Gonzalez offers. “But In Australia, it doesn’t matter how many releases you have, where you’ve played overseas, who you’ve remixed or who you’ve worked with. So obviously, the up-and-coming talent is going to get jaded.”