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Now Released, the new album from Garry Shepherd 'WolfDragon Moonshine'.

See Artist page for track samples and to buy at CDBaby

Track 1 - WolfDragon Moonshine (1986)

'WolfDragon Moonshine' is an Art Rock and Electronic Music soundscape music work I recorded in 1986. It's fairly grand in it's structure with acoustic guitar by Tim Steen, electric rock guitar by Paul Janel and electric fretless bass by Peter Jackson. I play synth keyboards with orchestral and electronic soundscape styles. There are also some of my early computer composed electronic work on the then newly released Yamaha CX5M 64K computer with FM synthesis.

The whole thing was mixed on analog multitrack tape with heaps of rack mounted outboard effects and extra synths, all in one take (after a few practice runs) with 2.5 sound engineers (5 hands) and monitored through a stereo JBL 4way megawatt sound system in a concert hall, Roy bins, W bins, alloy horns etc. We kinda disturbed the neighbours a bit, I kept turning it up, just loved hearing it very loud, especially the deep rumble of the bass in the dark bits.

Track 2. - Wildlife (1977)

To celebrate 40 years since I recorded 'Wildlife' in September 1977.

It's all analog synth, with some acoustic piano, recorded on 24 track multitrack at AAV (Armstrong Audio Visual) Melbourne, Australia, using as many synths and synth modules I could get my hands on - with thanks to Helmuts Music of Ringwood (Melbourne). It has multiple soundscape audio scenes using the extensive AAV sound effects library of both vinyl and tape, combined with analog sequencer loops.

Wildlife was written for a multi-projector concert setting with 24 computer controlled 35mm slide projectors - that's a 1977 computer by the way, onto a cinema screen divided into a grid of 12, 4 across x 3 high. Each grid section had two slide images dissolving from 10-30 seconds, with the whole grid screen morphing all the time. The images included lots of animal and wildlife pictures, which is where the title for the track comes from. The time it took to repeat the entire combined set of images taken at 2 second intervals, was about 21 years.

The music was written for a quad sound system set up in the cinema space and includes lots of wildlife recordings in the mix to match the animal and wildlife images that appeared in the visuals.

This is a stereo version of the quad mix, and certain parts have a distinct left and right channel separation. These represent parts of the quad mix which had distinct front and rear channels. So for instance a roar could suddenly appear from behind the audience's front facing perspective. Other parts would have prominent sounds bouncing diagonally from Left front to Right rear.

It took about a month to record, and I had the studio lights turned off except for the eerie glow of instrument led lights and equipment meters to heighten my audio senses. Visitors to the studio said it was like walking into a dark cave and they had a sense of disorientation like floating in a field of stars with just the soundscape and odd flashing led lights scattered around the place.


80min feature documentary about the underground dance style called the MELBOURNE SHUFFLE from 1990-2010, by Garry Shepherd.


Here are some clips from the GLOBAL SHUFFLE MOVIE. This first clip is called TVU and shows the underground TV station we set up to broadcast our dance parties on Free-To-Air TV in 1992. It was these broadcasts which established the underground dance style called the MELBOURNE SHUFFLE, bringing together various elements of dance steps that go back some 800 years with the new Electronic Dance Music (EDM) the fluro fashions and general good-will of the multi-cultural Underground community of Melbourne Australia.

Melbourne has over 200 languages spoken daily, the dance and music (typically with no lyrics), provided a common interface for the community that could be enjoyed without the problem of translation that spoken/text languages such as English (The official Melbourne language) have. Each language group and culture could relate to the dance and music at a primary level creating a much cherished and bonded community. These TV broadcasts were test broadcasts for the Community TV Station now called Channel 31 or C31. The TV station is fully supported by volunteer and paid staff and still on air (and streaming online) today nearly 25 years later.

* More about Melbourne's multi-cultural communities and the GLOBAL SHUFFLE cover artwork Brunswick Street

* GLOBAL SHUFFLE premiered at the FILE Festival (documentary section) Sao Paulo Brazil 2011  

* The track TVU is from the GLOBAL SHUFFLE soundtrack CybaFaeries and WolfDragons MP3 links listed in the side column and below.



The MELBOURNE SHUFFLE spread throughout the world by people who had lived in or visited Melbourne and gone to underground parties, then spread even further with online videos in the 2000's. I got in contact with Russian shufflers around 2008 and we organised the first competitive Shuffle dance competition called the RUSSIAN MELBOURNE SHUFFLE CHAMPIONSHIPS and filmed it for inclusion in the GLOBAL SHUFFLE MOVIE.

The venue is a former Soviet aircraft hanger and the outdoor party is the former air-field. This significant message of PEACE and GOOD-WILL to ALL, is as vital today as it was in 2009-2010 and reflects the same ethos as the Melbourne Shuffle's beginning's in 1992 at the End of the Cold War. The international War that we as a generation had all grown up with, and were glad to see end.

The Russian edit in Global Shuffle is different to the clip below, which shows quite a lot of the extra footage and different edits for the promotion of the first championship and second one  2009 and 2010. This includes an interview with Viktor Strogonov and shows other parts of the competition not included in the GLOBAL SHUFFLE MOVIE.

Male and Female compete as equals on the same dance floor in the Melbourne Shuffle Championships, and voting is done direct by those watching. We are planning some more Melbourne Shuffle Championships, with online sections so Shufflers can post their own competition entries from anywhere in the world and be voted for by people online. We'll update you with details on this site later.

So here's the Russian Melbourne Shuffle Championship showcase and interview clip, to give you a great idea of the standard of Shuffling in competitive Shuffling today.

More longer edits with live soundtracks can be found on the VIDEOS page.



This great clip from Scooter - J'adore Hardcore (Extended) (Live at Stadium Techno Inferno 2011) has live footage of Miljano Soekha who features in the GLOBAL SHUFFLE MOVIE.


Here's a great shuffle party from GLOBAL SHUFFLE partners Banderiano-MSMChile (Official) Summer of Sun Quilicura 2013 | Rockers & DJs + Shuffling Stage Show



Summer of Sun Quilicura 2014 | Rockers & DJs + Shuffling Stage Show 


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CybaFaeries and WolfDragons CD Cover

The new CybaFaeries and WolfDragons album by Garry Shepherd, now released.

BUY Download $9.99 

IMAGE ABOVE: Garry Shepherd (1992) The background image is a still frame from a 1992 animated 8bit Video Art work by Garry Shepherd, using Commodore AMIGA computers 500 and 2000, Fairlight ESP video processor and Panasonic MS1 video camera. Part of the image includes a waterfall in the Grampians/Geriwerd National Park and Cape Schanck coastal park, both a few hours drive from Melbourne Australia.  The Video Art works were generated in live TV broadcast mixes at TVU. We set up our own Free-to-Air TV station in a disused warehouse and ran dance parties. The live Video Art mixes were combined with live DJ audio mixes, and went for hours with projections on the warehouse walls for dance party attendees at TVU and broadcast live across Melbourne on Channel 31, now C31 community TV. Further Video Art images will be posted in the Products page, some generated from my Commerce House studio 1992, using Broadcast feed-back techniques, broadcasting a TV signal then looping it back via the reception and utilizing electrical interference from passing Trams electric motors.


Commerce House TV Studio Edit Suite, Flinders Street, Melbourne Australia. (1995) AMIGA 2000 far left, SONY broadcast gear A/B Roll. 


Part of the Video Art exercise was to explore analog and digital influences in the same work. Digital video equipment at the time was slow compared to analog systems and frequently crashed. We thought of the digital limitations as digital noise, often pushing the digital systems beyond what they were designed for. Similar in audio terms to overloading a valve guitar amp to get distortion. The digital systems had filters to produce a clean signal, and we searched for ways to disrupt or bypass the filters, pushing the colour generation systems beyond their safe levels for instance. Frequently images lasted just a few minutes before system failure. The idea was to keep the master record tape rolling to capture the collision of analog and digital which often became self-generating in feedback loops. Even recording tape degradation was used, bad tracking and worn or twisted tape going off course causing unexpected results and destabilising the fine tuned TV broadcast systems. 


Commodore AMIGA 500 and program discs. Broadcast graphics and text/titles were done with Deluxe Paint 4 graphics program and Scala. Pic Flinders Lane Studio, Melbourne Australia (2005)


Technology, in particular digital technology, was a heightened issue at the time. Digital audio technology had produced CD's and vinyl was being used as the benchmark test for it's success. There was much debate focusing around how well digital could reproduce accurately natural sounds made through analog methods, a symphony orchestra or live rock band for instance. Digital audio was a little rough at the time because of low sample rates, 8bit was common, it was course and very limited compared to even a poor quality vinyl pressing.

For image makers 35mm film was still the benchmark, still frame transparencies (slides) or motion pictures (film). Video was still crude and difficult to manage. The rule was how well does the camera reproduce natural analog occurrences, a landscape or actors on a movie set for instance. Film had been around for 100 years at the time and the chemical processes involved in film and the quality of film stock were very advanced and sophisticated. Digital imaging was near non existent outside of computer games and corporate graphics. Video was restricted to bright daylight or a bright well lit studio, similar to film in the early 20th century. Camera's were static on a tripod and movement was restricted to within the camera field of view in a controlled setting, you couldn't free roam such as with todays phone Camera's, switching from one lighting condition to another, film and video camera's needed  all sorts of adjustments, white balance, shutter speed, film stock etc to go from broad daylight to indoors. Video needed lots of light, just to get an image, going down to 2 lux (2 candle light) was not even considered, even with film you needed special lenses and film stock just to get that sort of image. With still photography long exposure could get it, but any movement of the camera or subject would blur.


Roland MC500 and Amiga Program Discs. Many tracks of the CybaFaeries and WolfDragons album were composed on the Roland MC500. Pic Flinders Lane Studio, Melbourne Australia (2005)


In music terms I saw electronic music as an addition to analog, not a replacement. What attracted me to synths in the 1960's/70's was 'additive synthesis', you built sound from scratch using oscillator banks. That's a long process requiring a fair amount of science knowledge in sound construction, waveforms, harmonics and the interaction of sounds to modulate and supress or heighten different frequencies. By the late 1970's much of electronic analog synthesis was 'subtractive synthesis', pre-constructed sounds were developed and you altered the sound through filters which subtracted various frequencies and envelope generators which gave shape to the resulting output sound.

The synthesiser to me could create sounds humans had literally never heard before. At first they were considered special effects, and novelties, not serious music. The objective was generally to recreate naturally existing sounds, a string section or piano for instance. To me playing in a band in the 1970's this was fantastic. To have a piano in a band, you needed a piano and mic, a truck and piano carriers to move it and 1 hour tuning, then issues of feedback and just being heard over a rock band. I envied guitarists who could carry their guitar in one hand and amp in the other and be setup playing in minutes. Drummers had more in common with me. With synths, I too could now walk in synth under my arm and amp in the other hand and have piano, strings and all manner of sounds literally at my finger tips.

Even today with high level digital samples in synths, piano's and strings still miss the mark to a trained musical ear. The string sound is highly complex and has active engagement with the wood and air movement around it, I still prefer a natural acoustic string instrument to electronic or digital, with human players where possible. The nuances are extraordinary in skilled hands, and compare similarly to todays Virtual Reality. Seeing and hearing are just 2 senses, a headset and headphones, don't provide smell, touch, the gentle breeze on your neck, the sunshine, the cold etc. But are a convenient alternative to the real (analog) thing. 

Analog Video is a synthetic vision, it's electrons (electricity) capturing photons (light) and reproducing them through a display, computer screen or projection for instance. Analog video storage in the early 1990's was usually upgraded audio tape which uses embedded metal oxides and such, arranged in magnetic patterns to store and playback the stored information. Digital storage was the same, stored on tape with RAM used as a buffer for the playback. Film (photography) is different, it's light interacting with analog chemicals, no electricity, except for play-back machines (projectors) in modern times instead of early hand cranked clockwork machines.

In my video art, I was less interested in capturing and re-presenting 'real (analog) life', similar to recording an acoustic string instrument or taking a considered 35mm transparency photo, than using the video to create things I hadn't seen, or couldn't be created in film. There were similar film techniques, usually 8mm film, altering colour balances, using different lens filters and darkroom techniques, but they would take weeks in processing, where video could do it live, almost immediately, so you could respond to a live performance like in a band.

So the vision in the CD album cover image (top above), was like a live music recording, using analog, digital and human elements, capturing the setting like a landscape photo. All the elements of 'being there' physically in the room at the moment, the crowds, the noise, the smells, the human adrenalin, the sense of occasion, the transience of the moment, the collective shared experience of hundreds in the warehouse space, the thousands watching TV live in their homes, at a time when TV was the most powerful live communication form on earth, captured in 'real time' by electrons, not photons, and stored by magnetism and rust on polymer tape. It was a buzz :-) 


TVU live projection room (1992)