… as a toddler Chris stuck a safety-pin in an power socket and almost died of electrocution…was this the beginning of his love for high voltage music? Was it the catalyst spark for creative genius?  Or just severe brain damage?

Brought up in and around music; educated by an extensive vinyl collection and a beaten up portable radio/cassette deck, he shares his old man’s love of jazz, folk, soul, gospel and blues but found punk, reggae, dub, funk, latin, metal and hip-hop on his own.

As a teenager played in garage bands on 6-string, keys and the love of his life, the bass guitar, squandering his youth with a Fostex 4-track and bad drum machines.

After an inspirational month in New Orleans during the Jazz and Heritage Festival, Chris began experimenting with hip-hop and formed an original guitar-groove group called Capital F.  The group gigged extensively and toured the East coast on a regular basis.  They recorded 3 CDs and appeared on various compilations including RooArts Youngblood IV, recorded a track with Eddie Pillar (the head of the Acid Jazz label); played a string of outdoor festivals including the 1994 Big Day Out and supported the Meat Puppets at their Adelaide show.

He became a floating bass player in other bands such as Bliss, Helga, Goofy Footer, Loaded Zilla, Churchill’s Last Cigar, Spliff, The Fuglemen and Crisp (fronted by Sia Furler).  Also lead singer of grunge-rock outfit Mindfield (not the hip-hop group of the same name who became part of his crew later on).

He morphed into an sound engineer, under the tutelage of Steve Fieldhouse, Victor Ivchenko, Darrell Cole, Dean Edwards, Neville Clarke and Craig McCowat (and others).  Launched a studio project called Found Objects with Steve and released their debut self-titled album.

This lead to work as a live engineer in Adelaide and got an education in audio Post working at Tracks Studio.

Next, was the intense-experimental instrumental group Chimera #9 with guitarist Adam Ritchie and percussionist Dave Hopgood.  They recorded a live self-titled LP at Mixmasters studio and mixed it at Krell (now Chapel Lane studios).

Chris became an audio engineering/media lecturer working at TAFE and SAE Institute, training many of Adelaide’s live sound engineers in the original music scene.

As an original member of the Crackhouse hip-hop collective with Mindfield, Sun-Zu & dL, which later included Headstrong Company, DJ Sanchez, Jekl and Integer1 + DJ Jugular from After Hours, he collaborated on various hip-hop projects

In the meantime, he formed the group Defenders with MC Flak (Fatface/Crossbred Mongrels) and DJ Snair (DMC/ITF turntable wizard-later with Social Change and Taylor-Made Tactics).  They recorded for various compilations including 3x Aus. DMC champ Staen1’s Certified Dope and released a full length LP Self-Defence (distributed by Obese Records).  Now an engineer/producer/muso/rhymer in the Australian hip-hop scene, he helped out many local acts and was performing in support of international acts (see his hip-hop profile).

Whilst working and completing a double-degree part-time, Chris made time to write, record, mix, master and release his own solo hip-hop LP Monster in 2011.

Chris returned to the live scene in the guise of Doc Boom playing with the masters of mayhem Clowns of Decadence, the junk-fusion nightmare that became Adelaide’s most popular original band of the 90s (well…perhaps after Mark Of Cain).  They recorded an as yet unreleased EP at the end of 2015.

In mid-2015 he formed Global Groove Rock act Medicine Troupe with drummer Jose Tortabu and guitarist Drew Butcher and was back in the saddle as a singing front-man/bassist – happy days!!

2016 saw Jose leave for Melbourne and Chris turned his attention to producing a solo Festival Fringe show entitled Rhythm Caravan. Dropping music inspired by 20 countries in 60 minutes with solo performance on vocals, percussion, bass and guitar AND 60 minutes of projected synched video, the show proved to be an audience success.  For the months following Chris began re-learning the feel of an Upright Bass.

Returning to live engineering at venues around town, Chris also started mixing and mastering studio work in 2016 for artists such as Orelia and Neon Tetra and is now preparing for another studio onslaught for his own projects.