You're someone who genuinely loves sound — not as background, but as something worth sitting with. There's a consistent pull toward the physical and tactile side of music: vinyl, the warmth of a good room, gear that's built to last. You're drawn to work that sounds intentional, whether that's the precision of Japanese ambient in the '80s or the jangly, lo-fi approach to indie pop that came out of one small corner of New Zealand. What ties these together isn't a genre so much as a kind of *attention* — craft that doesn't announce itself, music that rewards close listening on good equipment.
You're also a curator at heart, not a gatekeeper. You hate the gatekeeping instinct even though you clearly have the knowledge that could tempt you toward it. You want to make good sound accessible — recommending solid entry-point gear to people new to the hobby, building a shop that celebrates rare pressings without making people feel stupid for not knowing them already. The things you reject are telling: algorithmic playlists that trap you in loops, cheap turntables that wreck records, the gap between how something looks and how it actually performs. You don't buy bullshit, and you won't stock it either.
Likes
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Artist / musician
The Clean
Formed in Dunedin, New Zealand, in 1978, The Clean is a seminal indie rock band and a cornerstone of the influential Flying Nun label. Primarily led by brothers Hamish and David Kilgour, alongside bassist Robert Scott, the band pioneered a distinct, jangly guitar-driven aesthetic that came to define the "Dunedin sound." Their music is characterized by a raw, melodic sensibility that bridges the gap between post-punk energy and infectious, minimalist pop structures. By emphasizing lo-fi production, repetitive rhythmic hooks, and a detached yet earnest vocal style, The Clean established a blueprint for the global independent rock movement. Their approach balances driving, propulsive percussion with chiming guitar lines, favoring a sense of candid, unpolished creativity over technical artifice. This aesthetic helped catalyze the 1980s indie underground, positioning the group as a definitive influence on subsequent generations of alternative musicians. The band's name, originating from a character in the film Free Ride, reflects their lean, unpretentious ethos and their role as architects of a specific regional musical identity that resonated far beyond New Zealand’s borders.
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Product
Vinyl Eye
Vinyl Eye functions as a specialized retailer and community hub dedicated to the analog music format, bridging the gap between historical preservation and modern listening. The store centers its inventory on high-fidelity audio equipment and turntables, paired with a curated catalog that spans both new contemporary releases and sought-after vintage pressings. Its mission emphasizes the technical appreciation of distinct sonic textures inherent in vinyl, catering primarily to audiophiles and collectors who value the physical and tactile nature of record reproduction. By operating as both a physical storefront and an integrated e-commerce platform, Vinyl Eye maintains accessibility for a broad range of music enthusiasts. The selection reflects a intentional approach to variety, encouraging the exploration of genres through the lens of sound quality and archival integrity. Rather than focusing solely on mass-market trends, the shop privileges the enduring character of analog sound, positioning itself as a destination for those who prioritize the immersive ritual and sonic clarity of record-based playback.
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Song
Tago Mago
Tago Mago, the second studio album by German krautrock pioneers Can, stands as a landmark of experimental music. Originally released in 1971 as a double LP, the record captures a pivotal moment in the band's evolution, marking their first full-length studio release featuring vocalist Damo Suzuki. Recorded within the distinct acoustics of the Schloss Nörvenich, a medieval castle near Cologne, the album possesses a cavernous, immersive atmosphere that contrasts with its avant-garde sensibility. Musically, Tago Mago is defined by its ambitious long-form compositions, which weave together hypnotic rock improvisation, propulsive funk rhythms, and complex musique concrète tape editing techniques. The result is a dense, shifting soundscape that prioritizes sonic exploration over traditional structure. As one of the most extreme outputs in the band's catalog, it balances raw, frantic energy with moments of subtle, repetitive groove, creating a hypnotic effect that defies conventional categorization. It is a work for listeners drawn to psychedelic sound design, boundary-pushing studio production, and the tension between organic performance and meticulous electronic manipulation, serving as a primary touchstone for decades of experimental rock and electronic music.
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Taste Signal
Japanese Ambient Music
Curley has curated several 'Kankyo Ongaku' sets, stating: 'The precision and space in 80s Japanese ambient is something digital formats can never fully replicate.'
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Other
Technics SL-1200
Curley is a staunch advocate for the SL-1200, describing it as the 'workhorse that never fails the analog purist.'
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Place
Northcote Social Club
The Northcote Social Club stands as a definitive fixture of Melbourne’s inner-northern live music landscape. Operating from a historic hotel building in Northcote, the venue functions as both a neighborhood pub and a dedicated stage for the Australian independent music scene. Its central attraction is a purpose-built bandroom that balances an intimate atmosphere with the capacity to host a diverse rotation of emerging local artists and established touring acts. The sensibility of the space is fundamentally community-oriented, rejecting high-concept pretension in favor of a relaxed, grassroots aesthetic. Beyond its performance schedule, the site provides a functional social infrastructure for the area, featuring a casual dining room and an expansive beer garden. The environment captures the quintessentially gritty, high-energy spirit of Melbourne’s live performance culture, prioritizing acoustic accessibility and a raw connection between musicians and their audiences. Its enduring role in the regional music ecosystem stems from a commitment to providing a consistent platform for independent sounds, making it a utilitarian yet vital hub for artists and pub-goers seeking an authentic, unadorned experience of modern Australian music.
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Book
High Fidelity
In a 2022 podcast, Curley mentioned Nick Hornby's 'High Fidelity' as the 'cliché that happens to be 100% accurate' regarding his own life.
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Brand
Audio-Technica
While he loves high-end gear, he frequently recommends Audio-Technica to beginners: 'They make the entry point to high-fidelity sound accessible.'