Dexter’s involvement in one of the finest Australian releases of recent decades shouldn’t be undersold, but it’s hardly his only noteworthy career achievement. Prior to the release of The Avalanches stunning 2000 debut, Since I Left You, Fabay had already represented Australia for four consecutive years in the DMC World DJ Championships. At his final appearance, in 2000, he placed a very close second with a routine that re-modelled the likes of Jimi Hendrix, The Beatles and Prince, amid mind-bending ‘swing-set’ scratch work.
By now the lengthy wait for a Since I Left You follow-up has become a tiresome Chinese Democracy-like saga. Indeed, much like Guns N’ Roses, the majority of the album’s personnel have since moved on. Fabay was one of the first to depart, but his career hasn’t reached an impasse like the group’s has. The DJ’s prowess has seen him sell out shows all over the world, as well as earn support slots with the likes of Public Enemy and the Beastie Boys. Thus, who better to have on board to headline Howler’s first birthday bash? “I first played at Howler’s party amongst the Sydney Road Festival and spanked it,” he says. “It’s dope to be invited to spin for their first birthday. Solid crew.”
Yes, that’s right – following a year of immensely successful operations, this Sunday the Brunswick venue is throwing a Prom themed birthday party. They’ve labeled it ‘Melbourne’s biggest prom’ and the folks at Howler aren’t merely suggesting fancy dress. Anyone who turns up in ordinary clothes will be handed more appropriate attire from an onsite wardrobe before entry is permitted. So, will Fabay be embracing the theme?
“Most definitely, “ he says. “We all gunning for that Prom King title right? Boys be scrappin’.”
Just the thought of a prom evokes images of 1950s American high school dances and 1980s film flashback sequences. Accordingly, the party’s musical entertainment – provided by Fabay, Rhythm + Cutloose, Matt Radovich, Seans Deans and plenty more – promises to focus heavily on classic cuts from the ’50s, ’60s, ’70s and ’80s. As you’d expect, Fabay’s not taking the headlining assignment lightly. In addition to showcasing his peerless DJ talents, the performance will feature complementary visual displays. You’ll have to head along to the gig to find out exactly what this entails, but he offer some cryptic clues. “I’m thinking Learjets and limos and V,VV and VVVIP lists for sure.”
Dexter’s DJing obsession dates all the way back to his pre-teen days, when he would set up a mobile DJ booth at weddings. A career that spans more than two decades could result in diminished behind-the-decks enthusiasm, but that’s hardly the case with Dexter. See, he’s always been more interested in breaking boundaries and discovering different sounds than corresponding with prevalent trends.
“I’m cool to clear dance floors [by] pushing new approaches and music – usually before it becomes the watered down versions of it, like trap [and] wonky bass music.”
Over the years Fabay’s musical pursuits have embraced everything from gangsta rap and funk-soul to dance and absurdist plunderphonics. A couple of years ago he teamed up with Papua New Guinean log drummer Airi Ingram and Pacific Islands Krump crew Royal Fam to form Grrilla Step – a fusion of hip hop, dance and traditional music that he refers to as “the grandfather to the watered down sound you call ‘glitch hop’ or ‘wonky step’”.
Despite Dexter’s tireless genre exploration, his essential DJing principles remain firm. “I never did ‘mash-up’. Irony ain’t my thing. I’m always working on new mixes that express my vibe as a complete set, which has various sections that are spontaneous.”
In recent years there’s been plenty of pessimistic speculation that the influx of amateur iPod DJs will have a negative impact on the club scene and reduce the number and quality of turntablists. Realistically, what’s happening now isn’t much different to the mix-CD DJs of yester-year. What’s more important is that promising talent has an accommodating setting to rise up in.
“There’s always been a handful of ‘the next generation of artist’ across different artistic disciplines who transcend the scene’s limitations,” Fabay says. “It’s why Melbourne is a dope place to live.”
Indeed, Melbourne’s embedded music culture perpetuates a healthy, forward thinking scene. A number of Melbourne venues have disappeared or changed nature in recent years, but there’s been some real gems emerge as well. Howler’s a paramount example of how the city keeps pushing forward and cultivating world-class artists.
“Melbourne has always supported diverse, incredible music,” Fabay says. “When I discovered Krump music in 2005 I had underground support from places like Section 8 and The Croft, which helped evolve the Grrilla Step project in the national, international music and world music scene.”
BY AUGUSTUS WELBY