Delirious: An Interview
Notorious in Sydney for throwing some of the best underground raves that the city has to offer, Kai Delirious has made a name for himself as a powerful force within the coastal city’s techno scene.
Originally from Marrickville, he moved around a bit but has spent most of his life in the Inner West. It was there, in the thick of Newtown and its bohemian enclaves, that he first got introduced to techno and rave culture. He didn’t grow up on techno, though. Like caviar, VB Shoeys, and a good goon bag, it was an acquired taste.
“I came from a background of Rock and roll…and always kind of thought techno was weird electronic music that doesn’t seem like real music. I got invited to a rave and kind of went along and thought, ‘oh this is what techno is okay,” and just kept going to raves and was kind of like, ‘fuck, actually, this is sick.”
In Marrickville, the seedlings for his career as a DJ, promoter, and organizer had been planted. As he got older, Kai began attending more and more events—seeing how different organizers set up their parties, meeting new people, and learning the tricks of the trade. In 2020, along with two friends, he launched Illicit Underground, a relatively new label on Sydney’s techno block but one that has been met with early success.
In a city of five million people with seemingly limitless nightlife options in the form of bars, clubs, pubs, and countless other variations on offer, the question remains: why wasn’t this enough? According to Kai, the main issue with clubs was their vibe.
“The feeling that I always got was that I went with a bunch of friends to get really drunk, and the whole vibe of the clubs I was going to at that time was to find somebody to hook up with and hook up with them. That’s why you’re here, not really to enjoy the music. The music is just there because you’re drunk trying to hook up with someone. When I first experienced a rave, I never felt any pressure to do something I didn’t want to do. I felt absolutely like I could do what I wanted to do.”
Kai’s sentiments reflect those of many I’ve spoken to within the rave community who share the sentiment that raves are free of the status-quo expectations and limitations that bog down other kinds of night life environments. People hook up at raves, of course, and sometimes, they put together elaborate outfits, but the environment seems to be much more liberal. In other words, anything goes. There is no expectation that one will find a romantic partner or spend hours on their hair and make up and outfit. And there are no long lines or VIP lists. The scene is secretive, and the events are typically invite only and on an “if you know, you know” basis, but once there, acceptance and celebration seem to be the rule du jour.
Along with music that is hard to find in Sydney, the community is probably the biggest selling point for revelers. Week after week, they find themselves in a group of people who just want to dance without the pomp and circumstance of high heels, designer dresses, and Prada handbags.
“It’s such a different feel. It’s a community, even if you don’t know everyone there. For those six hours that you’re there, everybody’s there for the same reason—to have a good time. It doesn’t matter who you’re dancing with, you’re going to give them a hug and handshake and say “what’s your name, who are you?”
The feeling that one is part of something bigger than themselves, that they share intimate knowledge of an exclusive but open secret with a select group, and the comfort that, to a large degree, anything goes is what brings people to these events. It's why Kai liked them initially. And it’s the backbone of Illicit Productions.
With case numbers spiking and no end to Sydney’s lockdown in sight, techno parties seem like a distant memory. But one day they’ll be back, as they always have been. Resilience, resistance, and resurgence, after all, characterize the genre.
