Steve Law

Steve Law, Environ, Melbourne, 2005. Photo by Garton.

Since the early 1980’s, Steve Law has been producing electronic music in various forms from his home in Melbourne. As a member of several electronic groups and from his many eclectic solo projects, he has released numerous recordings on labels all around the world. He also performs live frequently, both nationally and overseas.

Steve’s many collaborations have included Ollie Olsen, Voiteck, Atom Heart, Tetsu Inoue, Riou, Speedy J, Alistair Riddell, Self Transforming Machine Elves, Monolake,Andrew Garton, Dale Nason, Bochum Welt, Terence Ho, Viridian, PaulAbad, Black Cab, Ai Yamamoto, High Pass Filter and Kazu Kimura. Locally, Steve has contributed to the Experimenta, Fringe, Electrofringe and Next Wave festivals, as well as composing music for film, multi-media and dance.

He has also been actively involved in Melbourne’s electronic and experimental music scene since the late 1980’s. In 1996 he was announced winner of the ABC Classic FM computer music award with his electro-acoustic composition “Urbania”. Recently Steve has started his own label (Solitary), and has developed a particular interest in spatial audio and surround sound. He is also very interested in collaborating with other sound and vision artists, in recordings, audio-visual presentations and live improvisation.



  • Evening Calm (excerpt) (1992) mp3 [9.91 MB] This is an excerpt from a twenty minute piece recorded in mid 1992. It is structured around a slow textural arpeggio on a Jupiter 6 synth, over which further synthesizer textures and chords were added and arranged on a Roland MC500 micro-composer. The recording was done direct to 2 track DAT, with live manipulation of synthesizer parameters during the recording.A much shorter remix of this piece was released as the concluding track on the debut Zen Paradox album (Eternal Brainwave).
  • Urbania (1996) mp3 [11 MB]
    Urbania is an aural collage combining the soundscapes of two modern yet very different cities, Melbourne and Hong Kong.I had spent a lot of time walking alone about the city of Melbourne, making recordings onto a portable mini-disc recorder (to be used in a major piece I had planned, “The Dying Metropolis”). I happened to be held over in Hong Kong at the end of 1995, and spent a very disoriented day wandering about, again with my mini-disc recorder. On returning to Melbourne I imagined what it might feel like for someone from Hong Kong (or any other city for that matter) to be alone in my home city for the first time.Urbania attempts to capture that feeling of disorientation and uncertainty by placing the listener in a surreal cityscape, composed from the juxtaposition of the sounds from Hong Kong and Melbourne. The raw mini-disc recordings were sorted through and edited, then further processed and laid out against a lattice of synthetic sounds (which were generated using additive, subtractive and formant synthesis).

    The intention of the composition is to take the listener on an unsettling journey, through locations simultaneously familiar and disorienting.

    This piece was the winning composition in the 1996 ABC computer composition award.

  • Out of Bounds (1999) mp3 [[6.02 MB]
    This piece was recorded in mid 1999, after an extended period spent in far north Queensland making field recordings. The music was largely inspired by the feeling of isolation in remote areas of the northern tropics. Some of the field recordings made their way into the piece. Most of the percussion sounds were constructed from samples of stones and rocks being knocked or thrown against one another.This was originally intended for release on a Zen Paradox album that I was working on at the time (never completed), but has yet to find a home (apart from this little corner of the ‘net). A longer version had a limited release on the CD “The End of the Nineties”.
  • SingingStatue6 (2004) mp3 [10.8 MB]
    In July 2004 I performed with James Wilkinson, Kirsten Bradley and Viktor Markov at Environ at Loop in Melbourne. This was quite an inspiring gig, and afterwards I jammed in the studio with the same Ableton Live set-up that I used for the gig. At one point I started recording my improvising, and Singing Statue 6 was the result. The main sound sources were field recordings from north Queensland, Moog Mg-1 random filter blips and processed guitar sounds. The rhythm was constructed from a variety of percussion samples, sequenced on a Regelwerk, then further manipulated with Live.

Solitary Sound – Steve’s personal site.