#Melbourne Electronic Sound Studio

[jgthirlwell]

I have been most fortunate to be able to use some of the incredible synth collection at MESS (Melbourne Electronic Sound Studio). Look for some of the sounds on the next Xordox album.

[bearheadwood]

Some prep for an upcoming video. Putting a drum machine with trans flag colours through the ESP of an MS-20M for filtering and into the transaudio to trigger the steps on its sequencer and it came out as a wierd stochastic bluesy thing, mainly due to how the triggers were coming from the filtered drum sounds, not an actual trigger. The Hammond machine is waaaay to old to do that, I'll try to make one with a devillish plan involving a light dependent resistor and a Moog System 30, but that will probably end up being used in the final video.

[don-lichterman]

Musicians dedicated to saving electronic instruments for the future

Musicians dedicated to saving electronic instruments for the future

Australian musician Gotye’s international hit, Somebody That I Used to Know, was one of the biggest songs of 2011.  Its incredible success allowed its creator, Wally De Backer, to feed his passion for early electronic musical instruments including the theremin, the onde martenot, and the ondioline — instruments which are considered forerunners to the synthesiser. Around the same time as his song…

[memorableconcerts]

Nick Cave The Bad Seeds - "From Her To Eternity" - Live 1989

Live 1988

Nicholas Edward Cave AO FRSL (born 22 September 1957) is an Australian singer, songwriter, poet, lyricist, author, screenwriter, composer and occasional actor. Known for his baritone voice and for fronting the rock band Nick Cave and the Bad Seeds, Cave's music is characterised by emotional intensity, a wide variety of influences and lyrical obsessions with death, religion, love and violence.

Born and raised in rural Victoria, Cave studied art in Melbourne before fronting the Birthday Party, one of the city's leading post-punk bands, in the late 1970s. In 1980 they evolved towards a darker and more challenging sound that helped inspire gothic rock, and acquired a reputation as "the most violent live band in the world". Cave became recognised for his confrontational performances, his shock of black hair and pale, emaciated look. The band broke up soon after moving to Berlin in 1982, and Cave formed Nick Cave and the Bad Seeds the year after, later described as one of rock's "most redoubtable, enduring" bands. Much of their early material is set in a mythic American Deep South, drawing on spirituals and Delta blues, while Cave's preoccupation with Old Testament notions of good versus evil culminated in what has been called his signature song, "The Mercy Seat" (1988), and in his debut novel, And the Ass Saw the Angel (1989). In 1988, he appeared in Ghosts... of the Civil Dead, an Australian prison film which he both co-wrote and scored.

The 1990s saw Cave move between São Paulo and England, and find inspiration in the New Testament. He went on to achieve mainstream success with quieter, piano-driven ballads, notably the Kylie Minogue duet "Where the Wild Roses Grow" (1996), and "Into My Arms" (1997). Turning increasingly to film in the 2000s, Cave wrote the Australian Western The Proposition (2005), also composing its soundtrack with frequent collaborator Warren Ellis. The pair's film score credits include The Assassination of Jesse James by the Coward Robert Ford (2007), The Road (2009) and Lawless (2012). Their garage rock side project Grinderman has released two albums since 2006. In 2009, he released his second novel, The Death of Bunny Munro, and starred in the semi-fictional "day in the life" film 20,000 Days on Earth (2014). His more recent musical work features ambient and electronic elements, as well as increasingly abstract lyrics, informed in part by grief over his son Arthur's 2015 death, which is explored in the documentary One More Time with Feeling (2016) and the Bad Seeds' 17th and latest album, Ghosteen (2019).

Cave maintains The Red Hand Files, a newsletter he uses to respond to questions from fans. He has collaborated with the likes of Shane MacGowan and ex-partner PJ Harvey, and his songs have been covered by a wide range of artists, including Johnny Cash ("The Mercy Seat"), Metallica ("Loverman") and Snoop Dogg ("Red Right Hand"). He was inducted into the ARIA Hall of Fame in 2007, and named an Officer of the Order of Australia in 2017.

Live 1988

Nick Cave and the Bad Seeds (1984–present)

The band with Cave as their leader and frontman has released seventeen studio albums. Pitchfork Media calls the group one of rock's "most enduring, redoubtable" bands, with an accomplished discography. Though their sound tends to change considerably from one album to another, the one constant of the band is an unpolished blending of disparate genres, and song structures which provide a vehicle for Cave's virtuosic, frequently histrionic theatrics. Critics Stephen Thomas Erlewine and Steve Huey wrote: "With the Bad Seeds, Cave continued to explore his obsessions with religion, death, love, America, and violence with a bizarre, sometimes self-consciously eclectic hybrid of blues, gospel, rock, and arty post-punk."

Reviewing 2008's Dig, Lazarus, Dig!!! album, NME used the phrase "gothic psycho-sexual apocalypse" to describe the "menace" present in the lyrics of the title track.[23] Their most recent work, Ghosteen, was released in October 2019.

In mid-August 2013, Cave was a 'First Longlist' finalist for the 9th Coopers AMP, alongside artists such as Kevin Mitchell and the Drones. The Australian music prize is worth A$30,000. The prize ultimately went to Big Scary. In a September 2013 interview, Cave explained that he returned to using a typewriter for songwriting after his experience with the Nocturama album, as he "could walk in on a bad day and hit 'delete' and that was the end of it". Cave believes that he lost valuable work due to a "bad day".

Live 1986

[smc106musicproduction2]

Journal Week 10 - Field Trip: Melbourne Electronic Sound Studio (M.E.S.S)

For the workshop, I used 3 different synth machines, the Prophet 10, the Prophet VS, and the OB-6. The 1st synth (Prophet 10) was quite old, they were made in the early 80s, and this one definitely felt like it was from that era. I ended up creating 2 different sounds, the first being more of a bass track or rhythm track, and the 2nd more of a lead voice, I then quickly recorded about 3 mins from the 2 tracks. Then I moved to the Prophet VS, which felt a little more modern and created 2 more sounds that complimented the previous 2 tracks. The Prophet V felt like the presets were already very layered and textural, but you also had a lot of control over the sounds and could edit them to your own tastes. After recording the 2 more tracks that was track 1 complete. I then started working on a 2nd track that was way more spacious and textured, I got some pretty cool pad sounds out of the Prophet V and a cool sci-fi synth sound from the OB-6, it also had great arpeggiated settings that were easy to use. I felt by knowing some of the basics I was able to work my way through the different settings without much trouble, and I'm sure you could spend days sifting through the myriads of preset sounds. I think the OB-6 had 999 editable pre-set patches.

The 2 tracks I recorded today will be used for my final assignment for this class. The plan is to also record some live drums over what is there, and maybe even some heavy electric guitar, I'll see how much time I have up my sleeve.

Working with hardware definitely made a difference, it felt like I had more control over the sounds I was making, also the arpeggiator settings felt set in stone when you made a change to it. One thing that I did miss was having the quantize grid up, in one way I really had to make sure everything I was playing was in time with the click, so yeah I missed the grid. I think also having all of those buttons and faders in front of you brought a little more excitement to the process as well, sort of like a kid in a candy store with the more buttons you have.

I think the deals they had at MESS to use their equipment were very practical/affordable and I may use their facilities at some point in the future.

END JOURNAL WEEK 10 MUSIC PRODUCTION 2

[sfsonlin]

Navigating the World of Financial Services: Enhancing Your Financial Well-being

Monetary administrations assume an essential part in the present complex financial scene. They include many items and arrangements intended to help people, organizations, and associations deal with their funds, accomplish their monetary objectives, and protect their monetary prosperity. In this article, we dive into the universe of monetary administrations, investigating the different contributions accessible and featuring their significance in upgrading monetary security and success.

Banking Administrations: Banking administrations are at the center of monetary administrations, furnishing people and organizations with fundamental monetary items and arrangements. This incorporates checking and investment accounts, advances and home loans, Mastercards, and electronic financial administrations. Banks go about as caretakers of assets, work with secure exchanges, and proposition monetary administration instruments that permit people to follow their costs, save, and plan for what's in store.

Venture and Abundance The executives: Venture and abundance the executives administrations take care of people trying to develop and safeguard their riches. Monetary counselors and abundance chiefs give customized exhortation and direction on speculation choices like stocks, securities, common assets, and land. They assist clients with creating far reaching monetary plans, oversee risk, and improve speculation portfolios to accomplish long haul monetary objectives, for example, retirement arranging, training financing, and abundance move.

Protection Administrations: Protection administrations offer insurance against monetary dangers and unanticipated occasions. This incorporates life coverage, health care coverage, property and setback protection, and responsibility protection. Protection suppliers assist people and organizations with alleviating expected monetary misfortunes by offering inclusion custom fitted to their particular necessities. Insurance contracts give true serenity and monetary security notwithstanding unforeseen conditions, like mishaps, ailments, catastrophic events, or lawful liabilities.

Retirement Arranging: Retirement arranging administrations help people in planning for a monetarily secure future. Monetary consultants assist clients with assessing retirement needs, dissect pay sources, and foster systems to gather adequate investment funds. They guide people in choosing fitting retirement accounts, for example, 401(k) plans or individual retirement accounts (IRAs), and deal exhortation on venture choices that line up with retirement objectives. Powerful retirement arranging guarantees an agreeable and monetarily stable post-work life.

Charge Arranging and Planning: Charge arranging and planning administrations assist people and organizations with exploring the intricate universe of duty guidelines and advance their expense commitments. Guaranteed public bookkeepers (CPAs) and expense experts give direction on charge procedures, allowances, and credits to legitimately limit charge liabilities. They guarantee consistence with charge regulations and guidelines, plan assessment forms precisely, and assist people and organizations with making the most of expense saving open doors.

Monetary Instruction and Guiding: Monetary instruction and guiding administrations mean to improve monetary education and enable people to settle on informed monetary choices. These administrations offer studios, workshops, and customized directing meetings on themes, for example, planning, obligation the board, credit building, and monetary objective setting. Monetary training outfits people with the information and abilities important to explore monetary difficulties, lay out sound monetary propensities, and accomplish long haul monetary solidness.

For More Info:-

Financial Solutions

Strategic Financial Advice

South Melbourne Financial Planners

Financial Planning Firms South Melbourne

[kalingaproductionstudios]

From Studio To Success: How Professional Audio Services Shape Hit Songs

Behind every hit song lies a meticulous process of audio production and engineering. Professional audio services play a crucial role in transforming raw musical elements into captivating tracks that resonate with listeners. In this article, we delve into the world of professional audio services and how they contribute to the creation of hit songs. From recording Maplewood studio sessions to the final mastering stage, let's explore the transformative effect of these services with real-world examples. Setting the Stage in the Recording Studio The recording studio serves as the foundation for crafting a hit song. Professional audio production Missouri engineers work closely with artists to capture pristine performances and optimize the sonic qualities of each instrument and vocal. With expert guidance and high-quality equipment, the studio helps a new artist capture a tight rhythm section, sparkling guitars, and a powerful lead vocalist, setting the stage for a potential hit. Crafting the Mix: Balancing Elements for Maximum Impact Once the recordings are complete, audio engineers start with the mix down phase, where they skillfully balance and blend each element to create a cohesive and impactful sonic landscape. They use techniques like equalizers, compression, and effects to shape the sound and highlight the song's emotional core. Take, for instance, a pop artist aiming for a catchy radio hit. The audio engineer meticulously balances the vocals, instruments, and electronic elements, ensuring that each element shines while maintaining a cohesive and infectious sound that hooks listeners. Mastering: Polishing the Final Product The mastering stage is where the finishing touches are applied to ensure that the song sounds its best across different playback systems and platforms. Mastering engineers use their expertise to enhance the clarity, dynamics, and overall tonal balance of the song. Consider a breakout artist preparing to release their first major single. The mastering engineer meticulously fine-tunes the song, adding depth, warmth, and punch to make it stand out on the radio, streaming services, and even club sound systems. Creativity and Experimentation: Pushing Boundaries in Sound Professional audio services not only refine songs but also encourage creativity and experimentation. Skilled audio engineers and producers often work with artists to explore unique sonic landscapes and push the boundaries of what's possible. About Kalinga Production Studios: Kalinga Production Studios offers professional Maplewood music recording studio services and audio production solutions in Melbourne, ensuring exceptional sound quality, meticulous attention to detail, and a seamless creative experience for artists and content creators. To know more, visit https://www.kalingaproductions.com/

Original Source : https://bit.ly/43QTvUz

[abductionradiation]

Melbourne, Australia -- Harvey Sutherland returns this year with his new single “Changes,” the first piece of new music since the release of his LP Boy last year. The pulsating track come at just about 3.5 minutes long but its beat will have you dancing all night long. From the cool, lush electronic bed to Sutherland’s melodic vocals, “Changes” has a hypnotic feeling it with the repeating hook. There’s a sleek club feel to the track that is very reminiscent of the electronic music from the early 2000s - and it’ll have you bumping to the rhythm until you’re drenched in sweat. 

On the track, Harvey Sutherland shares “When my daughter was born, I would rock her to sleep singing little mantras and made-up songs. There was one idea that stood out —“going through some changes” — so I went to the studio and started building a track around it. When I finished the tune, I realised I had accidentally re-recorded the hook to “Changes” by Sandy Rivera, an amazing 2002 house record I used to listen to when I was a teenager, but I hadn’t thought about in 20 years. Somehow it had buried its way into my subconscious, and re-emerged as a lullaby. I’ve reconnected deeply with the sounds of UK club music, as anyone who’s heard me DJ in recent years can attest. I’ve been making heaps of choppy soulful garage beats recently, and Changes feels like a nice introduction to this body of work.”

Make sure to catch Harvey Sutherland on tour this spring, playing shows in the US for the first time ever.

Connect with Harvey Sutherland:

Official Site | Facebook | Twitter | Instagram

[avaliveradio]

New Indie Pop Songwriters for November 2022 with Jacqueline Jax

Today’s episode of the New Music Release Radar Spotify Podcast with Jacqueline Jax.

Listen on Podcast <here>

On this episode of new Music release radar, Jacqueline Jax explores the new pop songwriters music trends of November 2022 with new discoveries from indie artist. You’ll hear the latest in fresh indie folk melodies, dance electro pop tracks with nostalgic vibes and melancholic sweet memories with heartfelt haunting imagery.

e src="https://open.spotify.com/embed-podcast/episode/6JzwPuumlIazvkCqb0UFZT" width="100%" height="232" frameborder="0" allowtransparency="true" allow="encrypted-media">

Enjoy these singles and more on our featured playlist:

New Indie Pop Music Picks

Listen on Spotify

The indie music scene is overflowing with fresh new music, follow our daily updates to discover what's happening on the Indie Music Scene. Curated by Jacqueline Jax . 

Featured Artists on Todays Show…

Savannah Jaine - Someday Come Soon

Music Genre: Indie Folk, Americana, Pop Vibe: Dreamy, Wistful, Romantic, Relaxing Located in: Manchester, UK and NYC, NY Sounds like: The Civil Wars, Maren Morris and Ryan Hurd,

Savannah Jaine Opens up about Struggle on New Single 'Someday Come Soon'

Someday Come Soon is a fabulous intimate indie folk song sung by Singer - songwriters Savannah Jaine. The song is warm and inspiring expressing that moment of longing for a dream that is ahead of you. The song comes with a special story.

https://www.avaliveradio.info/featured/savannah-jaine-someday-come-soon

The Song Tailors- Best in Me

Music Genre: Pop, Love Ballad, Duet

Vibe: Chill, romantic dance, soft ballad

Located in:  Melbourne, Australia (songwriter - Ruth Picker), Toronto, Canada (singer - Liam Isaac), Dublin, Ireland (singer - Muireann McDonnell), recorded at Abbey Road studios London, UK.

Sounds like:  Ed Sheeran, Lady Gaga, Bradley Cooper, Pink, Charlie Puth

This is our first duet and the first single released from our Abbey Road Studios recordings. Ruth Picker - the songwriter - recorded Liam Isaac (from Toronto in Canada) and Muireann McDonnell (from Dublin in Ireland) at the famous Abbey Road Studios in London. Ruth wrote the song specifically for the two singers, knowing everyone would finally get together in person at Abbey Road. The song is about how we can bring out the best in each other, raise each other up and inspire positive relationships. Key lyrics from the chorus include "You lifted my arms when I couldn't reach, you raised my voice when I couldn't speak, you showed me what my eyes couldn't see... you bring out the best in me". Imagine a romantic dance to this soft love ballad or just listening to the chill vibe that will make you feel relaxed, inspired and positive about humanity. The Song Tailors is a creative project created by Ruth Picker - who writes both the music and lyrics. This is her 39th release under The Song Tailors brand.

https://open.spotify.com/track/3iKdG6xMiT6MOYnoICXxbO?si=1ce5901b4a44438b

Shradan - Limits

Release date: November 18 Music Genre: Bass House Vibe: Dark, energetic Located in: Los Angeles

The music is interesting and active with good consistent energy which fits perfectly in the Miami club scene. You’ve got the essentials taken care of on this track between beat, mix and eq.. the question is which way will this artists take it. How is he going to make his mark and what groundbreaking element will he gravitate towards that will make his music truly stand out.

Shradan, previously known as DJ Darsh, is an electronic dance music DJ and music producer based in Los Angeles.  A graduate in music production from Los Angeles Recording School, Shradan has been inspired by Tiesto, Calvin Harris, Jonas Blue, R3hab, and Alok.  Most recently his remix of Vassy & Vinny Vibe’s Don’t Wanna Be Right was selected from a remix competition as a runner up.

Azul Kechi - Highs & Lows

Release date: Nov 20, 2022 Genre:  Retro SoulFunkAdult Contemporary Moods: Happy, Energetic, Sexy Similar artists: Lauryn Hill, Pharrell, Janelle Monae, LION BABE, Erykah Badu, Ari Lennox, Angie Stone

"This is my second song, 'Highs & Lows' a funky neo-soul/rnb influenced pop jam that's sassy and will get you in your feels! A celestial rnb/soul/pop singer from outer space. Check out my debut single 'Azul' on all streaming platforms This is a funky, upbeat song with sassy, strong lyrics. It's the follow up from my debut single 'Azul', giving a dancier flavour of soul pop, pop funk & RnB.

https://open.spotify.com/track/68B4A1v1ii9t2GybwhEUOP?si=f95b8cde3cce4b31

Matthew Thomas - All I Need to Hear

Release date: (Nov 24, 2022) Genre: Singer SongwriterFolkAcoustic Moods: Romantic, Chill Similar artists: The 1975

Imagine if the 1975 wrote their new song "All I Need To Hear" with Morgen Wallen. Obviously that would never happen, but that's the vibe that my cover of it emulates! Cheers. All I Need To Hear" is the second song of my new EP "Covered." I picked four of my favorite songwriters (Harry Styles, The 1975, John Mayer, Kacey Musgraves) and reimagined their songs in my own folk-pop style while preserving the spirit. I hope you enjoy and look forward to your feedback!

https://open.spotify.com/track/2FzBKamUqcwsQLXHRgntXt?si=d9d390403b3c4f8c

Meadowhip-  Over

Release date: Nov 16, 2022

This is the latest single from my upcoming debut EP. It offers a gentle champagne fizz and commentary on personal growth and transformation. I love this singers vocal. “Over” is like a bubble bath. It’s sweeps over you like a fragrant candle and warm soapy water.

‘Over’ sees Wollongong’s meadowhip emerging from a chrysalis of self-doubt, her cool facade cracking to reveal a gentler, more intimate side of an artist more in tune with herself and her music than ever before.

Specific Coast - Everybody Calls Me Son

Release date: Nov 18, 2022 Released by: Cactus Coast Records Genre: Singer songwriter, Folk, Indie

Everybody Calls Me Son is the 3rd single this year from Los Angeles based singer-songwriter, Specific Coast. ECMS is his most personal song yet with themes of abandonment and feeling like you aren't worth someone else's love. SC leans into a melancholy indie folk vibe with plenty of fingerpicking and layered guitars.

Specific Coast has amassed over 1 Million streams in the last year. Inspired by Bon Iver, The Lumineers, Damien Rice, and The Head and the Heart, Specific Coast writes music for fall. Enjoy with a pumplin spice latte and your therapist. Specific Coast is singer-songwriter, Matt Dunne.

nxtime - Debra

Release date: Nov 11, 2022 Released by: Camel Genre: Acoustic Alt Pop Moods: Sad, Chill, Moody

Debra is a moving song about an elderly homeless woman that the writer saw on his way to work seemingly living in a subway car in NYC. We are providing a link in our song promotions to a NYC charity (https://midtownsouthcc.org/) that creates urbangardens in NYC that helps feed the homeless.

Steven Taetz - Late Bloom

Release date: Nov 22, 202 Released by: S.TTZ Music Genre: Adult ContemporarySinger SongwriterAmericana Similar artists: Chris Isaak

STEVEN TAETZ is a singer, songwriter, and bandleader based in Toronto who continues to carve out a unique space in Canadian music. As a songwriter, in the last decade Steven Taetz has written for many internationally renowned artists published on Sony/ATV, Nettwerk, Warner, Shapiro Bernstein, and Universal.

His earliest recordings were collaborations with leading DJ/producers across Europe, released on top EDM/dance labels Armada Music, Perfecto, etc. For 2013’s debut solo album Steven Taetz, he created a cross-Canadian collaborative collection of songs with JUNO-award-winning singer-songwriters from each province of Canada. His 2018 Drink You In album debuted at #3 on iTunes jazz charts, and received rave reviews from JazzTimes and other leading media. His upcoming Spring 2022 album Making Room includes collaborations with Jill Barber, Caroline Brooks of Good Lovelies, Jenn Grant, and many other world-class artists.

Kill K3nny - ctrl alt delete

Release date: Nov 18, 2022 Genre: Pop Rock, Indie Pop

It seems like everyone is walking on eggshells, afraid to offend or be accused etc. As long as we come from a place of goodness, I think we should all strive to say what we mean and mean what we say regardless of how it will be received. CTRL ALT DELETE is my commentary .. This is my tongue and cheek commentary on cancel culture. if we come from a place of goodness, we should all speak our minds and be our most authentic selves regardless of what others think xoxo.

https://open.spotify.com/track/25B68h0u1yxTJYCv7gMkMQ?si=e4caea1d033242e8

Frantic - Confidence & Sparks

Release date: Nov 17, 2022 Released by: van GARDEN music Genre:  Singer SongwriterIndie FolkAcoustic Similar artists: Coldplay, Bon Iver, Travis, Oasis, Damien Rice, Glen Hansard, Ray LaMontagne, Iron & Wine, Passenger

Especially the dark moments in life capture us, unsettle us, make us fragile. We lose ourselves in the search, try to stick to the tried and tested, but still dare to break new ground. It'll get better, we know that. That was the case last time too. At some point hope will come back and with it «Confidence & Sparks». The trust in yourself and the sparks bring some light into the darkness again.

Music Video: https://youtu.be/rlorP7Y8ir4

Carly Reirson - Aurora

Release date: Nov 18, 2022 Genre: Folk Acoustic

Born and raised in Leduc, AB, singer-songwriter Carly Reirson captivates audiences with her soaring melodies and honest lyrics. Whether it is love or heartache, Reirson’s “sad-folk” songs take you on a journey through the world of human emotion. Inspired by artists such as Brandi Carlile, Sara Bareilles, and Rose Cousins, her smooth, yet edgy voice brings you face to face with your own feelings as she shares her stories of love, loss and loneliness.

Reirson has spent the last six years immersed in songwriting, penning the tracks for her upcoming album, Diary of a Beating Heart. The first single from the new album, “Aurora,” is a soothing, atmospheric folk song about one of nature’s beauties - the Northern Lights. Written by Reirson and produced by multiple award-winning producer, Murray Pulver (CCMA, WCMA, Canadian Folk, and JUNO), the track features rolling guitar and poetic lyrics that invite listeners to wrap themselves up in the warm tones and smooth melodies of the song.

https://open.spotify.com/track/0dIanrltEGspvPOC902O8P?si=c5aeadbebc9644a5

The Woolverstones -Three Smiles in the Mirror

Release date: 23 days ago Genre: Singer Songwriter - Folk Moods: Romantic

This track is off The Woolverstones recently released debut album "Grey Eyed Dandy" produced by John Wood (who produced Nick Drake's "Pink Moon”. “Three Smiles in the Mirror" is a stripped down, autumnal folk ballad which aims to convey to the listener a sense of honesty which is void of musical artifice, betrayal and affectation. It is a cautionary tale for troubled times. 

The Woolverstones are an alternative folk duo based in the UK and include Chris S. (lead vocals, guitar) and Lou H. (backing vocals, flute)

https://open.spotify.com/track/7te3WrZh3nvgqs3zLJsRvA?si=40c642e4a6b246d4

[aaronkraten]

Melbourne Electronic Sound Studio

[burlveneer-music]

Sleep D x Ad Lib Collective - Flashed Glass - electronica duo + percussion-heavy chamber ensemble in inaugural release from Play On Records (Melbourne)

Play On Records is proud to present Flashed Glass, a new record from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover. Having first been introduced at rehearsals for Play On’s 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn’t have otherwise found on their own, and their idea for further collaboration was born. Because Flashed Glass didn’t use formal notation in the creation process, this resulted in charts and maps to plot out each track. This influenced the artists’ sonic interpretations of vast open spaces, dystopian landscapes and expansive journeys. What’s culminated is a record that combines spacious, repetitive, ambient electronica with the gentle, lilting woodwinds, strings and acoustic percussion of modern classical. In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn’t work — until the COVID-19 pandemic cut things short, twice, due to Melbourne’s dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells. This marks the first release of Play On Records, a Melbourne-based label exploring the intersection of acoustic and electronic music. This release is available on vinyl and digital download.

Sleep D is: Corey Kikos & Maryos Syawish - electronics. Ad Lib Collective is: Thea Rossen- percussion, Jesse Deane - saxophones, Jared Yapp -viola & synthesiser, Hamish Upton - percussion, Zela Papageorgiou -percussion, Ben Opie - oboe.

[bearheadwood]

Recorded some promo for the synth speed dating thing I run every few months. Puns and innuendo and synths? I'm all about it.

[dustedmagazine]

Dust Volume 7, Number 2

Bitchin’ Bajas

The whole country is snowed in and Texas is starting to look a lot like the Terrordome, and we can see how people might not be laser focused on music right now, especially if they’re cold or sick or out of food. But music continues to pour in, in great quantities and beguiling diversity, and a fair amount of it is very, very good. So, while we encourage you to take care of your brothers and sisters first (by donating to organizations like Austin Mutual Aid, Community Care — Mutual Aid Houston, Feed the People Dallas or the Austin Disaster Relief Network), we also present another collection of short, mostly positive reviews of new-ish records that have caught our attention. Writers this time around include Ray Garraty, Jennifer Kelly, Bill Meyer, Justin Cober-Lake, Eric McDowell, Bryon Hayes, Jonathan Shaw, Tim Clarke and Mason Jones.  

Babyface Ray — Unfuckwitable (Wavy Gang)

On his new 7 song EP Unfuckwitable, thanks to his technical skills, Babyface Ray grinds through a great variety of trendy topics under a great variety of beats: from “not rap” rap to “bad bitch” rap to “we got it off the mud” rap. It’s all very professionally done, as you expect from a professional rapper, despite Ray’s claims that he’s not one. But midway through it, behind the misty fog of bouncy production and some lines catching the ear, you can clearly see at least two problems, with the EP and Babyface Ray. First, he doesn’t have anything to say (unlike some hip hop artists who ran out of things to say, he never had any in the first place). Second, he either doesn’t rhyme or goes for a lazy rhyming. The standout here is “Like Daisy Lane”, a catchy little song, with absolutely no substance behind it.

Ray Garraty

 Bananagun — The True Story of Bananagun (Full Time Hobby)

The True Story of Bananagun by Bananagun

Ooh look, it’s tropicalia from Australia! The five-piece Bananagun hails geographically from Melbourne, but metaphysically from 1960s Sao Paulo or swinging London. Their first album swaggers like a long-haired hipster in wide-flared hip huggers, fingers snapping, funk bass slapping, keyboards and flutes gamboling in hot melodic pursuit. Multiple band members got their start in similarly 1960s-aligned Frowning Clouds, so the psych garage freakbeat elements are, perhaps, to be expected. But Bananagun runs hotter, wilder and considerably less Anglo. “People Talk Too Much” rattles the foundations with scorching funk percussion, big flares of brass and a vintage Afro-beat call and response chorus. “Mushroom Bomb” likewise heats up psychedelic apocalyptica with seething syncopations of bass and drums. Most of these tracks are a bit overstuffed, with a pawn shop’s worth of instruments enlisted in happy, dippy, everyone-get-in-the-jam exuberance, but am I going to complain about too much joy? I am not. Bring on the Bananagun.

Jennifer Kelly 

 Andrew Barker / Jon Irabagon — Anemone (Radical Documents)

Anemone by Andrew Barker + Jon Irabagon Duo

Some names tell you exactly where you stand, and others raise questions. Take the name of this record, for example; did drummer Andrew Barker (Gold Sparkle Band, Little Huey Orchestra) and tenor saxophonist Jon Irabagon (Mostly Other People Do The Killing, I Don’t Hear Nothin’ But The Blues) have the aquatic or land-lubber variety in mind? To get specific, is this record a buttercup, or a bottom-dwelling, plant-lookalike life form that waits for other aquatic species to come close enough for it to lance them, paralyze them with venom and chow down on their still-living bodies?

“Learnings,” the first of the album’s four tracks, is true to its name, being a distillation of instrumental tones and free jazz attacks that might remind you of moments from various Coltrane and Pharoah records. It feels familiar, but invigorating. The title tune comes next, and it’s a slower, more laconic performance, attractive enough to be either the sea or land variety. Then comes “Book of Knots,” which suspends an intricate percussive construction over slow-bubbling pops and barks. The record closes with “Branded Contempt,” a juxtaposition of pathos-rich blowing and restless brushwork. One can listen most of the way through this record without guessing whether it owes allegiance to Poseidon or Persephone, but the coarse intensity of Irabagon’s playing in the last minutes is the tell; this record packs a sting.

Bill Meyer

BBsitters Club — BBsitters Club & Party (Hausu Mountain)

BBsitters Club & Party by BBsitters Club

Label Hausu Mountain specializes in weird experimental electronics. Its release of a rare rock record might raise a few eyebrows. BBsitters Club, with the label's founders making up half the quartet, pulls off a tricky feat in becoming an arch rock band. BBsitters Club & Party has enough old-fashioned blues and psych-based rock to suggest a group taking itself seriously. Naming the opening track “Crazy Horse” immediately calls attention to its meta status, even if the track sounds more like Pink Floyd than Neil Young's collaborators (and there's a touch of hair metal in there, too). No group with songs called “Joel,” “Joel Reprise,” and “Joel Reprise Reprise” can take itself too seriously, and that kind of playfulness runs throughout the disc. At the same time, BBsitters Club does take its musicianship seriously. They avoid conventional forms, working in complicated structures full of surprising twists. The group can get a little proggy, but then twist it toward an Allman Brothers-style jam. If it starts to settle into the Woodstock era (see the clear nods to Hendrix and Cream), it jumps to the 1980s with an unlikely easiness. The band goes wherever they feel like rocking, with everyone invited to the party.

Justin Cober-Lake 

 Bitchin Bajas — live ateliers claus (les albums claus)

Bitchin Bajas - live ateliers claus by Bitchin Bajas

If we can all agree the pandemic has dealt musicians some dizzying blows, that’s hardly to say they had it easy before. Squeezed between tech platforms and spurned by a hostile federal government (speaking for the US, anyway), even on tour they had to contend with iffy financials, physical neglect and — because why not say it louder for those in the back? — literal theft. So Cooper Crain, Rob Frye and Dan Quinlivan found themselves over 4,000 miles from home in May 2018, playing Brussels’s les ateliers claus on borrowed equipment after having their gear stolen (twice) on a European tour in support of Bajas Fresh. “Um, we’re, ah, Bitchin Bajas, from Chicago ... Illinois,” one of the trio says over the set’s first tentative tones. “And thanks ... for coming. This is gonna be great, I think. Or, we’ll see.”

Perhaps it’s not a question of either/or but both/and, the cosmic “we’ll see” of COVID-19 only amplifying how truly great it is to receive this music in the unimaginable future of three years later. As ever with the Bitchin Bajas, there is pleasure in the subtleties, whether that’s an excited concert-goer whooping as “Jammu” picks up momentum or the way each turn of the musical kaleidoscope seems to bring out new hues. That the recording doesn’t represent any dramatic departure from what we hear on the studio album or during other sets on other tours is part of its appeal and part of its power as a balm. We don’t need any more startling revelations right now. In this sense, the whole live ateliers claus series is a reminder that this venue and these artists — from Michael Chapman (vol. 1) up through Will Guthrie (vol. 12) — are still here today. If we can help repay what’s been stolen from them, they’ll be here tomorrow, too.

Eric McDowell  

 Loren Connors & Oren Ambarchi — Leone (Family Vineyard) 

Leone by Loren Connors & Oren Ambarchi

This is the first time that Loren Connors and Oren Ambarchi have collaborated, despite the myriad ties that bind the two guitarists across the global exploratory music scene. Leone offers a trio of pieces arranged like overlapping globs of paint on a painter’s palette: the two artists each perform solo with a collaborative piece in between. “Lorn” is a side-long Connors piece with the guitarist in an experimental mood, hammering the reverb-drenched strings to create a glorious cacophony. Ambarchi’s “Nor” recasts the guitar first as a church organ and then as a subaquatic communications device. When the two pair up for “Ronnel,” it is a symbiotic meeting. Connors picks out notes around which Ambarchi weaves contrails of tone. It is a mesmerizing piece, and, we hope, just the first of many joint efforts from these two.    

Bryon Hayes

Buck Curran — WFMU 'The Frow Show' Live Session (Feat. Jodi Pedrali) (Obsolete Recordings)

Buck Curran: WFMU 'The Frow Show' Live Session (Feat. Jodi Pedrali) by Obsolete Recordings

When we last caught up with Buck Curran, he was hunkered down at then ground zero for the COVID epidemic, socially isolating in Bergamo, Italy while recording the lovely acoustic-guitar-and-voice album, No Love Is Sorrow. Half a year later, still deep in the grip of a worldwide pandemic, he made this record, a duet with Italian keyboard player Jodi Pederali, revisiting one song from the previous album and adding three others. The tracks with Pederali fuse Curran’s electric blues with the bright, meditative melodies of Pederali’s piano. The two players interact and overlap in intoxicating dialogue. “Deep in the Lovin’ Arms of My Babe,” reprises the finger-picked folk of Curran’s earlier album, adding a glittering sprinkle of piano to its mournful, wistful melody. The set was recorded for Jess Jarnow’s show on WFMU and released on Bandcamp, and while not as long or as weighty as No Love Is Sorrow, it’s well worth hearing.

Jennifer Kelly  

 Jürg Frey — l’air, l’instant - deux pianos (Elsewhere)

l'air, l'instant - deux pianos by Jürg Frey

When you put two pianos together, there must surely be a temptation to see how much sound you can get out of them.  Swiss composer Jürg Frey does the opposite on the two compositions that make up this CD. Each is so sparse that an inattentive listener might think they are hearing one patient pianist, when in fact they are hearing a pair of deeply skilled interpreters.  The task assigned to Reinier van Houdt and Dante Boon is to place their notes in such precise relation to each other that they can influence each other’s pitches without interfering with them. Each musician is, as the title “toucher l’air (deux pianos)” (2019) suggests, inducing a slight disturbance in the atmosphere, lightly pressing transitory shapes into the silence that absorbs each note. “Entre les deux l’instant” (2017/2018) allows the two pianists to decide how closely they will match paces as they trade the roles of melodist and accentuator. Immune to gauche temptation, Frey seems drawn instead to see how much attention and how little sound it takes to accentuate the beauty of silence.

Bill Meyer

 Chris Garneau — The Kind (The Orchard)

THE KIND by Chris Garneau

Chris Garneau’s lush, stunning art-pop swoops and whirls and flutters in wild arcs of drama. In this fifth album, the New York City songwriter works in a restrained palette of guitar, piano, electronics and drums, but colors way outside the box with his vibrant, emotional-laden voice, which flies up into a falsetto register with an ease not heard since Jeff Buckley passed. “I know you loved me truly, but we don’t love one way, do we?” he croons on the gorgeous “Telephone,” lofting up into whistle range without losing the purity or the trueness of his tone. Cuts like the title song and “Now On” are prayerfully simple, just framing piano chords and Garneau’s highly charged delivery. But others like “Not the Child” are more intricately constructed with a lattice of picked strings, an antic syncopated beat and staccato vocal counterpoints that dance around the main line. The Kind’s songs are deeply personal and rooted in Garneau’s experiences as gay man, but they’ll resonate with anyone who’s ever loved or longed or regretted.

Jennifer Kelly

Gaunt Emperor — Femur (Self-released)

Femur by Gaunt Emperor

Some would-be emperors may no longer have clothes (looking at you, Trump), but Gaunt Emperor is unabashed about wearing its influences on its sleeve. Femur is the first LP by this California project, and Sunn 0))) and the first few records released by Earth are large presences, looming hugely just behind the sounds Gaunt Emperor generates. If you’re familiar with those other bands, you get the essential idea: deep (really deep) notes and long (really long) sustain from loud (really loud) guitars, and not much else. That said, Gaunt Emperor has an aesthetic vision that seems to be attempting to survey its own territory. While compositions like “Slow Submersion” and “The Birth of Obsidian” work from the playbook established by O’Malley and Anderson, the textures of Gaunt Emperor’s guitar tone have their own sort-of-subtle qualities. They’re pretty good. “Conception,” the second track on Femur, expresses a similar inclination towards melody that Earth began to demonstrate on The Bees Made Honey in the Lion’s Skull (2008), but Gaunt Emperor retains an unrestrained relation to volume; you can feel the heat inexorably building in the overdriven amplifier stack. In any case, this is suitable music for pondering massive, ongoing phenomena, like the calving of icebergs off Antarctica’s coast or the steady disappearance of the Amazonian rainforest — not that Femur will make you feel any better about that stuff.

Jonathan Shaw

 Luka Kuplowsky — Stardust (Mama Bird)

Stardust by Luka Kuplowsky

Soft jazzy reveries coalesce around this Toronto songwriter’s offhand, semi-spoken melodies. Little accents of acoustic bass, slide guitar, hushed harmonies dart in and out of focus, but the songs themselves come up on you obliquely, filtering in from the vents in evocatively scented clouds. Rhythms sway in undulant, bossa nova syncopations, while chords slide into resolution from slightly off center. A half-remembered jazz flute lick lick lofts through the window. At the center of it all is Luka himself, posing, but not insisting on koan-like observations. “Perfection is a noose,” he confides amid the muted wreck and roll of massed jazz sounds in “City by the Window,” but he seems unbothered by it. Perfection is an accident, and if you look at it too hard, it disappears.

Jennifer Kelly

 José Lencastre / Hernâni Faustino / Vasco Furtado — Vento (Phonogram Unit)

Vento by José Lencastre / Hernâni Faustino / Vasco Furtado

Vento is the Portuguese word for wind, and the name conveys that combination of purposeful and chance operations that converged to make this record happen. The trio of alto saxophonist José Lencastre, double bassist Hernâni Faustino and drummer Vasco Furtado didn’t book a studio with the intent to record; they just wanted a place to play for a couple hours. But the engineers had just obtained some microphones and wanted to try out their new toys. Likewise, this improvisational trio did not bring an tunes to the session, but they play with a purposefulness born of shared aesthetic values. Whether are sailing a brisk clip, as on the title track, or gradually unwinding the music at low volume and velocity, as on “Ruínas,” they operate as a real time compositional cooperative, developing their music in linear fashion. While they share a direction, they also value contrast. For example, Lencastre’s breathy tone during the latter tune’s early moments balances Faustino’s pointed twang. Since remorseless microoganisms and anti-cultural politicians are each doing their best to keep live music down, records like this serve a necessary function in reminding us of the life force that motivates improvised music.

Bill Meyer

Lilys — A Brief History of Amazing Letdowns (Frontier)

A Brief History of Amazing Letdowns by Lilys

Kurt Heasley’s Lilys made some of the most ebullient and inventive guitar music of the 1990s. The best Lilys songs sound as though they’re flying apart and being put back together as they hurtle along, killer hooks tossed aside as quickly as they start to drag you in. Though they’re perhaps best known for their Kinks-indebted breakthrough Better Can’t Make Your Life Better, this was actually a sharp turn away from the dense shoegazey atmospherics of their first couple of records. Thus far, Frontier Records has reissued their first two albums, In the Presence of Nothing and Eccsame the Photon Band, both of which are superb. The A Brief History of Amazing Letdowns EP was originally released in 1994, a transitional period when Heasley was still exploring the textural joys of distorted guitars while starting to throw down pop hooks with aplomb. Opener “Ginger” hits similar pleasure centers as Weezer’s debut, released the same year, while on “Dandy,” Heasley’s vocal sounds uncannily like Stephen Malkmus. The previously unreleased “G. Cobalt Franklin” foregrounds searing guitar tones and bulbous bass, the bulk of the melodic layers sounding like they’re bleeding through from the next room, peppered with swirling flange and voice recordings. The second half of this expanded edition comprises songs originally demoed for Eccsame the Photon Band, and later released in 2000 on a split EP with Aspera Ad Astra. They’re decent enough, though feel like they’re missing the spark of the best Lilys creations. So, while this amounts to a far-from-essential Lilys release, it’s fascinating to hear Heasley in transition, working out how to reconcile his love for melody with his immersion in guitar noise.

Tim Clarke

 Fred Lonberg-Holm — Lisbon Solo (Notice)

Lisbon Solo by Fred Lonberg-Holm

As befits a guy who has also recorded a “solo” record in the company of a Florida swamp full of frogs, Fred Lonberg-Holm picks his recording locations strategically, and location has a lot to do with how this album turned out. It was done at an old and well-appointed studio in Lisbon, Portugal, where he could be sure that the microphones would catch every creak, groan and polyphonic wail he might draw out of his main instrument. But he also knew, from prior visits, that he would have access to some seriously over-the-hill pianos. While most of the album is devoted to savagely bowed attacks, the odd digressions into detuned, radiant chimes deliver just enough respite to keep you off balance and on the edge of your seat.

Bill Meyer 

 Dan Melchior — Odes (Cudighi Records)  

'Odes' by Dan Melchior

Dan Melchior is likely a recognizable name to Dusted readers; he has made quite a string of releases over the years. This cassette/digital release, recorded in 2016, is a subdued affair, nine songs for the most part following the same blueprint: a track of strummed or lightly picked acoustic guitar with a fuzzy electric lead layered on top. The foundational guitar tracks establish a calm, repetitive cycle, giving some of these songs an almost raga-like feel, in some cases through a hazy reverb: "Tybee" feels like you're sitting in the next room listening to him play through a closed door.  

Calling the overdubs "guitar leads" implies the wrong feel. While played through fuzz or distortion, the mood is a woozy one, more opiated than energetic, but in a drifting, pleasant way. There's an over-arching melancholy throughout these songs, one person alone playing to satisfy a need. Knowing Melchior was facing the recent loss of his wife Letha certainly colors it, but even a listener ignorant of that back-story would feel the emotional resonance.  

These nine ramshackle, loose instrumental pieces are personal, incomplete, and like having someone entrust you with private stories in song form.  

Mason Jones

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mint Field, from Mexico City, filters the feedback and noise of shoegaze guitars through a pensive screen, finding an aura of nostalgia in between and among blinding walls of scree. Estrella del Sol Sánchez contributes two of the band’s signature sounds, the dreamy, delicate vocals and the swirling masses of altered guitar. She is supported by Sebastian Neyra on bass and Callum Brown on drums. The volume level varies song to song, but it’s all mesmerizing and good. “Delicadeza” breezes in on the tenderest sort of sigh, the softest, most lyrical strummed accompaniment, but “Contingencia” digs in and pounds, drums cranking, bass thudding and guitars winging out in wild arabesques of distorted sound. The easiest comparison might be the similarly hauntingly voiced Lush, but there’s something special here in the soft, keening soprano calm at the center of even the most agitated cuts.  

Jennifer Kelly

 Roy Montgomery — Island of Lost Souls (Grapefruit)

Roy Montgomery 40th Anniversary 2021 LP Series by Roy Montgomery

In 2021, guitarist Roy Montgomery celebrates 40 years of music-making with the release of four new LPs, beginning with Island of Lost Souls. Though 2018’s fantastic Suffuse included vocals from artists such as Haley Fohr (Circuit Des Yeux), Julianna Barwick and Liz Harris (Grouper), Island of Lost Souls is entirely instrumental, comprising four pieces, each dedicated to a late artist (actor Sam Shepard, and musicians Adrian Borland, Peter Principle and Florian Fricke). Though wordless, Montgomery’s guitar speaks volumes, flickering and flowing with the liquid grace of a player intimately familiar with both his fretboard and the effects pedals at his feet, sending waves of tone cascading with delay and reverb. Plus, on the side-long, climactic “The Electric Children of Hildegard von Bingen,” Montgomery pitch-shifts his guitar so it really ascends to the heavens, where it takes up residence for 22 minutes. Fans of Windy & Carl, Flying Saucer Attack and The Durutti Column, take note.

Tim Clarke

 Jon Mueller — Family Secret (American Dreams)

Family Secret by Jon Mueller

A family secret is usually a multigenerational skeleton in the closet that is either sorrowful or sinister. For percussionist and Volcano Choir member Jon Mueller, it is the former: a series of familial rifts that became the unlikely muse for this collection of reverberating drones. Mueller employs instruments that produce multiple resonant tones, such as singing bowls and gongs, to create rich pools of complex sound. Metallic hues brighten subterranean rumblings while enigmatic dapples of condensed steam coalesce into liquid shapes. The drummer conjures ghastly creatures through extending the vocabulary of his drum kit. Cymbal scrapes become banshee wails and scoured skins emanate uncanny whispers. With Family Secret, Mueller manifests his personal demons as phantom signals. He transmogrifies emotional strife into physical actions which then become ethereal. Ironically, the resulting sounds are actually soothing. Pain has never sounded so sweet.  

Bryon Hayes 

 Primitive Motion — Descendants of Air (Kindling)

Primitive Motion is the Brisbane-based duo of Sandra Selig and Leighton Craig, and Descendants of Air is their seventh album, previously only available as a CD given away at live shows. You can immediately imagine what the album sounds like based on the artist name and album title alone: rustic yet cosmic, full of space and open to spontaneity. Recorded on the banks of the Enoggera Reservoir, these eight meandering pieces prominently feature the sounds of wind and leaves, plus the calls of raucous Australian birds, while Selig and Craig insinuate suggestions of melodies and chords on nylon-string guitar, woodwinds, and battery-powered keyboards, and gently massage the air with percussive patters. Though part of the appeal of the recording is its deliberate vagueness, the most affecting piece, and the shortest, is “True Orbit,” where a strident theme built around melodica, keyboard and voice seems to emerge fully formed from the aether.

Tim Clarke

 Socioclast — S/T (Carbonized Records)

Socioclast by Socioclast

In heavy music’s current moment of endless genre-hopping and hybridization, it’s nice to hear a record that understands exactly what it wants to be. Socioclast is a grindcore record. Like Assück’s grindcore’s records. A lot like Assück’s grindcore records. You get all the high-velocity chugging crunch and guttural grunting — vocals so deep in the gullet that it’s pretty hard to pick up any lyrics. The song titles, however, suggest the ideological dispositions you might expect: “Surveillance, Normalization, Examination,” “Specter Signal,” “Psychodrone,” “Propaganda Algorithm.” There can be a fine line between paying tribute and being derivative, but Socioclast creates an homage rather than an outright imitation. This is 21st-century music. It sounds a lot clearer and slicker than anything Assück or the early Slap A Ham bands committed to vinyl. Like Slap A Ham, Socioclast is a California-based musical phenomenon, featuring dudes who have played in bands like Deadpressure and Mortuous; Colin Tarvin’s death-metal grooves are especially prominent on some of the record’s best tracks, including “Eden’s Tongue” and “Omega.” But this is assertively a grindcore record. Given that version of traditionalism (and yes, events have come to such a pass that grindcore has a tradition), it turns out that Socioclast isn’t all that socioclastic. So goes the strangeness of semantics. But the music is good.

Jonathan Shaw

 Space Quartet — Under the Sun (Noise Precision Library)

Under the Sun by Space Quartet

Space is a persistent and multi-faceted theme in the music of the Portuguese electronic musician, Rafael Toral. And while his name is not appended to the Space Quartet’s, make no mistake, this is his band, playing his music. But it is a music derived from ideas that can’t be realized without the right people. So, while Toral has delved repeatedly into the sounds that people imagine they might make and that they actually find in outer space, and he has explored empty and variously filled spaces as starting points for his music, the point of the Space Quartet is to find the right people, and give them enough space to realize a new kind of jazz. Under the Sun is the combo’s second recording, made with a substantially different line-up than the iteration that recorded the self-titled debut for Clean Feed Records. Toral has sacrificed the all-electronic front line and switched drummers, but in doing so he may have found the right crew to take him where he needs to go. Across the album’s two 21-minute-long tracks, there are usually several ongoing dialogues taking place between the players, which manifest intriguing degrees of mutual challenge and support. But the way that Toral’s elongated feedback lines and Nuno Torres’ stuttering alto saxophone phrases flow around Hugo Antunes’ stark, elastic double bass figures and percussionist Nuno Morão’s lightly deployed, carefully modulated streams of textures and beats that extends a lineage anchored in the language that Cecil Taylor’s trio first released into the air at the Café Montmartre back in 1962.

Bill Meyer 

 Stinkhole — Mold Encrusted Egg (Mangel Records)

MOLD ENCRUSTED EGG by STINKHOLE

The name sort of says it all, but to clarify anyways: Stinkhole languishes in a slimy musical ditch, bottoming out somewhere between the No Wave skronk of Mars and the transgressive caterwauling of Suckdog. As was the case with both of those acts, the dissonance and the gross-out antics can obscure some interesting ideas. Clawing your way through the dense layers of yuck (or, depending on how you’re wired, enjoying it) is integral to the challenge posed by the experience. All the gagging vocalizations, primitivist drumming and semi-tuned bass whomps on Mold Encrusted Egg occupy prominent positions on the surface of songs like “Orange Juice.” But listen to Mold Encrusted Egg a little more closely: there are some rabid grooves, feral guitar breaks and a lot of impenetrably weird environments of sampled sounds, tape manipulations and unidentifiable scree. Is it fun? Does it sound good? Fuck no. The band’s name is Stinkhole. They write songs with titles like “Slippin’ on Slug Slime” and “Emancipated by Hair.” They roll with the whacko punk and noise bands that have congregated around the Berlin-based Flennen digital music zine and its accompanying label. Dig the stink. Rock has rarely been so richly rotten.

Jonathan Shaw

 Styrofoam Winos — S-T (Sophomore Lounge)

STYROFOAM WINOS "S/T" by Styrofoam Winos

Stryofoam Winos brings together three old friends to swap songs in Nashville. You might recognize Lou Turner from her solo album, Songs for John Venn, a sly and subversion of the songwriter’s wholesome alt-country charm. Joe Kenkel is a kindred spirit, a folk rock singer with respect but not reverence for the certitudes of Southern life. Says Nashville Scene of his solo Dream Creator, “Kenkel, a sophisticated folk-rock songwriter, documents Music City’s idiosyncrasies on his debut LP, with acutely observant lyrics.”  And Trevor Nikrant completes this anonymous all-star line-up; his 2017 debut caught the ear of Aquarium Drunkard’s J. Steel who called it “Oddball baroque psychedelia broadcasted from a basement on the east side.” The three kicked things off with a lo-fi and charming debut, Winos at Home, in 2017, but this self-titled LP takes things up a notch with songs that balance craft with eccentricity. “Stuck in a Museum” jangles and rambles in an antic, neurotically intelligent way, as the narrator finds himself entrapped amid the exhibits, staring fixedly at a teapot from the Tang Dynasty. “Roy G. Biv” turns contemplative—and twangy—as Turner sings plaintively about rainbows and colors, the way things change and how hard it can be to keep up. “Maybe More” glints with mandolin, but remains pared back, as a down-trodden singer (one of the guys, not sure which) sings about a life stuck in neutral, same book, same coat, same jokes, but beautiful. The disc has the feel of a warm, casual gathering, with friends jumping in on harmonies or picking up the bass. The songs are sharp and lovely without a lot of fuss.

Jennifer Kelly

[hlupdate]

Louis Tomlinson returns with his joyous new single, 'We Made It'.

'We Made It' is an ode to teen dreams and young love, which fuses both the euphoric indie influences of Louis's teen years with more contemporary electronic pop sounds.

The track is inspired by stolen nights out in Manchester in the early days of One Direction.

“Any time off I had, I’d go to Manchester for nights out with my mates. It made me realise I didn’t live in the real world anymore and I missed it. I loved being normal, reckless and stupid. It was the best escape.

"We’d stay up all night, talking about our dreams and what we thought would happen to us. That age is such an exciting time. You’ve no idea what the future holds, but you have so much potential. Where is my life headed? Who knows?"

“The chorus of We Made It is also about me and the fans. Between us, it has taken a lot to get here. I’ve had to work really hard, had to learn about so much about myself. I feel as though only when I get out to tour, to sing these songs directly to the fans, will I have cemented the start of my solo career.”

Today, Louis also debuted the music video for 'We Made It', directed by Charlie Lightening (Paul McCartney and Liam Gallagher). The clip is a continuation from his ‘Kill My Mind’ video released in September.

Alongside the release of the single, Louis announced today a Wold Tour for 2020 that will visit London, Glasgow, Doncaster and Manchester, alongside Europe, UAE, Indonesia, Australia, New Zealand, Japan, Brazil, Paraguay, Argentina, the USA and Canada. The full tour dates are below. To purchase tickets and for more information for the tour, please visit https://www.louis-tomlinson.com/.

Yesterday Louis revealed that his debut solo album 'Walls' will be released on January 31st 2020. The album is available to pre-order now.

Ask Louis why he only recently felt ready to record a solo album and is only now itching to be back on stage and he’ll tell you straight – the songs. His run of hits in 2017, including hugely successful collaborations with Bebe Rexha and Steve Aoki, were in retrospect a mere dipping of toes in the water. Temperature tested he made some decisions – Louis wanted to be an artist who had his own sound and something to say. Chasing chart positions and radio play had to take a back seat to making music that meant something to him and, in turn, to those all-important fans.

“There was definitely a process of understanding where I sit musically,” says Louis. “I have my own tastes and, to a certain extent, they are fighting against the musical tide. “When I grew up, pop meant Arctic Monkeys, Oasis, The Killers and Amy Winehouse. Times change, obviously. Currently pop is very urban and street, which is not what I relate to. Sure, I could make those sort of songs, but they wouldn’t feel like me. The puzzle was how to please both myself and the fans.”

Also yesterday, Louis premiered the first episode of his new YouTube video series. Watch it below.

Louis recently headlined the Coca-Cola music festival in Madrid to an audience of 25,000 people. Earlier this year, Louis picked up the Best Song Award at the 2019 Teen Choice Awards for his recent single 'Two Of Us', which has so far hit 40 million streams on Spotify, with YouTube views at 23 million. In 2018 Louis won an iHeart Award for 'Best Solo Breakout', and an EMA Award for 'Best UK & Ireland Act' in 2017. He was ranked No.5 on Billboard’s emerging artists of 2018 and has over 60 million combined followers on social media.

As a member of One Direction, Louis has sold over 100 million records. Overall Louis’s solo music has garnered over a BILLION streams.

“I feel like a new artist now. It’s taken a while for me to be comfortable on my own, to learn to trust my gut and make sure I get what I want. I feel the most confident I’ve ever been, both as a songwriter and a singer, and the most mature.

"Of course I want to be successful, but what matters is what my music means to me and what it means to the fans. That’s the priority. The rest we’ll have to wait and see.”

Louis Tomlinson Walls World Tour 2020

09.03 Razzmatazz 1, Barcelona, Spain 11.03 Fabrique, Milan, Italy 14.03 Stockholm Arena, Sweden 16.03 Columbiahalle, Berlin 18.03 L'Olympia, Paris 19.03 AFAS Live, Amsterdam 24.03 Roundhouse, London 26.03 O2 Academy, Glasgow 27.03 Dome, Doncaster 28.03 O2 Apollo, Manchester 18.04 Coca-Cola Arena, Dubai 20.04 Tennis Indoor & Outdoor Senayan, Jakarta 23.04 Shed 10, Auckland 25.04 Big Top, Sydney 27.04 Palais Theatre, Melbourne 30.04 Studio Coast, Tokyo 01.05 Zepp Namba, Osaka 09.05 Vivo Rio, Rio De Janeiro 10.05 Tom Brasil, Sao Paulo 13.05 SND Arena, Asuncion 15.05 Movistar Arena, Buenos Aires 09.06 The Fillmore, Minneapolis, MN 10.06 Chicago Theatre, Chicago, IL 12.06 Rebel Theatre, Toronto, ON 13.06 Stage AE, Pittsburgh, PA 15.06 House Of Blues, Boston, MA 17.06 Pier 17, New York, NY 19.06 Anthem, Washington, DC 20.06 The Fillmore, Philadelphia, PA 22.06 Coca Cola Roxy, Atlanta GA 23.06 Ryman Auditorium, Nashville TN 02.07 The Fillmore, Detroit, MI 06.07 Murat, Indianapolis, IN 07.07 The Pageant, St Louis, MO 09.07 Revention, Houston, TX 10.07 ACL Moody Theatre, Austin, TX 11.07 Southside Ballroom, Dallas, TX 13.07 The Fillmore, Denver, CO 14.07 Sandy Amphitheatre, Salt Lake City, UT 17.07 The Wiltern, Los Angeles, CA 21.07 Keller Auditorium, Portland, OR 22.07 Paramount Theatre, Seattle, WA 23.07 Orpheum, Vancouver, BC

[daveolivetti]

What is Music Festival By David Olivetti Published - Drum Media 2000

"As a guitarist, I'm interested in expanding what a guitar can do and what a guitar is meant to sound like," says Oren Ambarchi. "There's a lot of different aspects that you'll just pull together and it becomes a language. Your language."

The idea of defining or categorising music has infected sound throughout centuries. People have been traveling from the rainforests of the Amazon to virtual Las Vegas in search of an answer. Some cultures fail to understand such a question. "There are many languages," wrote musicologist Kofi Agawu, "that do not have a single word for what in English is meant by the word music."

Which brings us to the What is Music? festival. Celebrating its sixth year, Australia's premier avant garde and experimental music festival is underway, returning from a run of shows at the Big Day Out. The festival organisers do not claim to have the answer of what music is. "When we named it, it was more a joke off-the-cuff,” admits Ambarchi. However, upon close inspection the list of players to have performed at this annual 'meet' offers light to such spheres of debate.

Ambarchi and Robbie Avenaim have been the festival's organisers since its inception. As musicians, their relationship stretches back to Australian terrorist noise outfit, Phlegm. They have continued to work together and seperately; Ambarchi reeasing impressive solo records, making sufficient impact to tour with Sonic Youth's Thurston Moore and The No Neck Blues Band.

"It's music that's vital and it's happening," says Ambarchi, translating the music the festival promotes as a living, breathing organism.

"It's music that's constantly evolving. We do it and we're also fans. We're into it. The first line-up was basically all local - Jon Rose, The Machines for Making Sense, Phlegm, The Mumesons... It was like this weird cross-section. Four nights and only one act a night in those days. It's much bigger than it used to be and it's more well-known."

Indeed, what started as a one-off has blossomed into a full-fledged world class event. This year's festival is shaping up to be the most exciting yet, featuring artists from all over the globe including artists from the Mego label roster, avant garde guitar legend Keith Rowe, English improviser Simon Wickham-Smith, American funnyman Neil Hamburger, Melbourne quartet Dworzec and saxophonist Jim Denley.

The festival brings together a dynamic mix of artists exploring a soundworld through acoustic improvisation, digital technology, free music and far-out collaborations. It's sure to raise the hairs on the back of one's neck, fire the senses and offer insight into a mysterious music world. The line-up suggests a retreat from the terrifying wall of noise characteristic of previous What is Music? festivals. However, the chance of a surprise attack is never out of the question.

"Well you never know with those guys from Mego," Ambarchi smiles, suggesting artists suc as these are in a constant state of metamorphosis and impossible to pin down. "In the beginning those Mego guys were connected to the techno community and minimalism. Since they've taken off, all their new releases are really noisy. Mego has inadvertently become a focal point for this year's festival. The label's most accomplished artists - Peter Rehberg, Simon Bauer, the acclaimed Fennesz and video band Skot - are all performing.

An Austrian label, Mego works across the field of electronic media choosing digital technology as it's chief source of musical mischief. However, Mego reflects a new music state, where sound created through software packages, computers, modulated synthesisers and effects units have become the modus operandi, inventing a new computerised language.

"I'm happy about the Mego label coming here because I think it's something happening right now. It's not something that happened two years ago and then it comes to Australia."

Peter Rehberg and Simon Bauer are two artists at the forefront of the digital music scene. They write and perform their own compositions as well as running the Mego offices. "I've always been interested in the latest developments of music," says Rehberg, discussing his movement from an ambient/experimental DJ to digital innovator. "It developed from the wider availability of software. Prices coming down in computer hardware made it an easier thing to do. You can make sounds now on a computer, which you couldn't make on an analogue machine 10 years ago. I think that interests me more."

On the other side of the spectrum, Keith Rowe is arguably the festival's biggest name. Best known for his ground-breaking work with British group AMM - a post-John Cage improvisation collective than began in the sixties and still perform today. He continues to astound audiences as a one-man sound laboratory. His role as a 'tabletop' guitarist sees him exploring and extending the possibilities of the guitar. Often, he places the guitar flat on a table and with a clear mind and a box of preparations (nails, screws, electric motors, rulers) he begins his compositions as you see it. Much like a painter in the studio. He is very much looking forward to the festival.

"One thing I've realised is that 30 years ago, the freely improvised music that we developed in Europe and North America was particular to a few towns and a few cities whereas now it's across the world," says Rowe. "That music spread everywhere. I'm looking forward to seeing that development happening on the other side of the globe. It’s fantastic."

As a senior member of the avant garde movement, who has been performing for close to 40 years, Rowe finds working alongside the current crop of artists propose new challenges and offer insightful collaborations. "I find it really invigorating because they have a completely different agenda to us older guys in the sense that when we started to make tis freely abstract kind of music without a repertoire we were really fighting against the established giants like [John] Coltrane. We were trying to develop our own music, our own agenda, our own aesthetic. Of course, the young guys have got something completely different. They are much more with computers and technology. I'm a primitive in that respect."

The What is Music? festival is essentially grounded in its enthusiasm, but like the music it promotes the festival itself is evolving. The very act of the festival finds itself (sub)consciously peeling open the systems of established states of performance for both the performer and listener, and offers space for new spheres of thought. Its alive both as a free music enterprise and an ideas factory.

On what influences his current playing, Rowe says, "I think challenging new ways of assembling material. The way a performance is shaped, you know, what happens in a performance. What is a performance?".

[ementhusiasm]

A Playlist Of Melbourne´s Electronic Music Scene

Meilen entfernt von den pulsierenden Drehkreuzen für elektronische Musik in Städten der nördlichen Hemisphäre wie Berlin, Lissabon und London haben Produzenten, DJs und Musiker in Melbourne, Australien, begonnen, eine eigene Underground-Szene zu schmieden - eine, die gesund genug ist, um illegale Parkpartys zu unterstützen kleines Netzwerk von schweißnassen Kellerclubs und eine große Auswahl an Klängen für das linke Feld. Musik ist seit langem ein wichtiges kulturelles Element in Melbourne. Bands wie die Birthday Party und Cosmic Psychos haben wilde Anfänge im Punkrock beschritten, und viele ihrer späteren Acts - von The Avalanches über Cut Copy bis hin zu King Gizzard & the Lizard Wizard - waren weltweit erfolgreich. Die elektronische Musikszene der Stadt ist jedoch noch relativ jung, und ihre Künstler sind weder vom Genre noch von den Vorurteilen, wie ihre Produktionen klingen sollten, abhängig. Infolgedessen hat die Szene alles produziert, von galaktischen Synth-Psalmen bis zum Ambient-Breakbeat. "Derzeit scheint es hier eine kleine goldene Periode zu sein", sagt Rory McPike, auch bekannt als Rings Around Saturn.

Dass Melbournes elektronischer Underground floriert, während ähnliche Bewegungen in anderen australischen Städten ins Stocken geraten sind, liegt zum Teil an den lockereren Gesetzen der Stadt. Die restriktive stadtweite "Lockout"-Richtlinie von Sydney schreibt vor, dass kein Kunde nach 1:30 Uhr morgens Clubs betreten darf. Laut dem Oberbürgermeister der Stadt, Clover Moore, hatte das Gesetz dem Nachtleben einen „Vorschlaghammer“ verpasst. In Melbourne sind die Öffnungszeiten entspannter. "Melbourne als Stadt hat möglicherweise die beste Lage für ihre Veranstaltungsorte, da sie später nachts geöffnet bleiben dürfen, um das Nachtleben und die Kultur zu fördern", sagt Griffin James, auch bekannt als Francis Inferno Orchestra. Die befreite Clubkultur der Stadt hat dazu beigetragen, die Popularität unorthodoxer elektronischer Klänge zu verbreiten. „Es gibt viele Crews, die Partys veranstalten und kleine Communities gründen, die Spaß machen, inspirierend, offen und sicher sind, um kreativ zu sein und sich auszudrücken“, sagt McPike. Das, was diese Crews vereint, ist ein gemeinsames DIY-Ethos. Obwohl das Internet eine entscheidende Rolle bei der Verbindung weit entfernter Szenen gespielt hat, haben Melbournes Labels und Künstler es sich zur Aufgabe gemacht, Musikstile aus aller Welt auf ihre eigene Art und Weise zu adaptieren. „Ich habe das Gefühl, dass wir aufgrund unserer Distanz zu Europa und Amerika mehr als an jedem anderen Ort in neue Musikstile eintauchen, die aus der Online-Kultur stammen“, sagt James.

Da die Szene noch relativ jung ist, müssen ihre Pioniere oft improvisieren, um Veranstaltungsorte für Live-Auftritte zu finden. Carolyn Schofield, die als Fia Fiell astrale Ambient-Musik produziert, trat in Kneipen der Nachbarschaft und bei einigen DIY-Festivals lokaler Veranstalter auf. "Es ist viel schwieriger, Events in Clubs zu organisieren, als sie nur in anderen Veranstaltungsorten wie Pubs, Bars, Studios, Lagerhäusern und Galerieräumen zu veranstalten - besonders, wenn Sie elektronische Musik live spielen und nicht auflegen." sagt Schofield. Wie viele Mitglieder von Melbournes Electronic Underground sind auch Schofields Einflüsse vielfältig und reichen von Drohnen und Minimalismus bis zu nicht-westlicher Musik und Jazz. - "Ich habe das Gefühl, dass die Möglichkeiten mit elektronischer Musik endlos sind. Ich habe ein paar Jahre an der Universität gelernt, wie man notierte Musik schreibt, aber ich habe das immer mehr als eine Fähigkeit oder ein Werkzeug gesehen. Elektronische Musik zu machen war für mich immer viel einfacher, intuitiver und unterhaltsamer.“ Fia Fiell ist nur eine von vielen neuen und etablierten Künstlern, die im Untergrund von Melbourne tätig sind. Folgende Künstler stellen nur eine Momentaufnahme der weiteren Szene dar.

Rings Around Saturn, benannt nach Photeks Pharaoh Sanders-Sampling, atmosphärischem Drum & Bass-Schnitt aus dem Jahr 1995, ist der bekannteste Pseudonym von Rory McPike. McPike arbeitet in einer atemberaubenden Auswahl elektronischer Stile, vom Artcore-Dschungel bis zum ruckelnden Maschinen-Funk der 1980er-Jahre. "Ich versuche, nichts zu erzwingen oder das, womit ich arbeite, in ein bestimmtes BPM oder Genre zu formen. Auf diese Weise fühlt sich die Musik an, als käme sie von einem anderen Ort. Wenn ich mich voll und ganz damit beschäftige, sind die Endergebnisse immer besser." - "Glacial" aus seiner Erosion Part 2-Veröffentlichung auf Analogue Attic fühlt sich an wie eine glitzernde Fläche aus Permafrost, mit unheimlichen John Carpenter-Drohnen und Krautrock-Rhythmen. Egal, ob er als Rings Around Saturn oder als Dan White, Pickleman oder Turner Street Sound aufnimmt, alle Projekte von McPike zeichnen sich durch seine Vorliebe für Experimentierfreude aus.

Goin' Good EP by Rudolf C

Rudolf C (Rudolf Dorr) ist ein DJ und Produzent, der crunchy Analog-House und ungewohnten Elektro macht und zusammen mit Shedbug (Geordie Elliot-Kerr) das hoch angesehene Label Salt Mines betreibt. Seine Goin ’Good EP zu Shall Not Fade wechselt vom erhabenen Elektro-Funk von „Da Mind Da Body Soul“ zum üppigen Horizon-Chasing 4/4 des Titeltracks. "Ich versuche nicht wirklich, das Rad neu zu erfinden, ich möchte nur Clubby-House-Songs machen", sagt er. „Meiner Meinung nach hat eine gute House-Melodie eine Basslinie mit drei Tönen, einen schönen Pad-Patch und piepende Synthesizer-Geräusche: einfach und effektiv. Das Gefühl eines gesunden Wettbewerbs ist sehr hoch", erzählt er weiter. „Meine Freunde und ich versuchen ständig, uns zu bekämpfen. Jemand wird diese Brenner-Melodie zu einem Gruppen-Chat senden, und ich werde da sitzen und sagen: "Ich kann sie nicht davonkommen lassen, ich muss jetzt eine größere Melodie machen."

Songs in Your Name by Huntly

Die DJ und Produzentin Nite Fleit (Alysha Fleiter) kreiert kosmischen Techno und Elektro, der in ihren eigenen Worten von The Exaltics, Umwelt, Drexciya, Plant43 und Sync24" beeinflusst ist. Das Sydneyer Label Plastic World paart einen launischen analogen Rhythmus mit unheimlichen Riffs und gespenstischem Bass, während ihr Remix von Huntlys „Please“ eine Übung in sauer korrodiertem House ist. Die gebürtige Melbournerin entdeckte bei der Clubnacht ihres Partners, Pelvis, tiefere Tanzmusik, als sie in Sydney lebte. "Ich begann mich für einige der Platten zu interessieren, die sie spielen würden - Musik, die ich vorher nicht richtig beachtet hatte, wie New Beat, Industrial, Italo und Acid", sagt Fleiter. Die Belichtung löste ihre eigene Besessenheit mit elektronischem Sound aus und nachdem sie einige Jahre im Rahmen des Sydney-Duos Lady Shave ihre Fähigkeiten als DJ und Produzentin verfeinert hatte, zog sie zurück nach Melbourne, wo sie sowohl von der Clubszene als auch von den Off-Stars inspiriert wurde. Grid Warehouse und Parkpartys, die die Bewegung befeuern.

Where Will You Be Spending Eternity? by Francis Inferno Orchestra

Fantastic Man & Francis Inferno Orchestra (Griffin James) und Fantastic Man (Mic Newman) leiten Superconscious, ein Label, das dazu beigetragen hat, das Profil mehrerer prominenter Tanzkünstler in Melbourne zu verbessern, darunter Andras Fox und Luis CL. James und Newmans Produktionen sind wohl einige der ersten, die die Stadt auf den Plan rücken und reichen vom geräumigen Ambient House von Fantastic Mans „Rhythm Algorithm“ bis zu den psychoaktiven Traumlandschaften von „Mer Morte“ von Francis Inferno Orchesters Nebenprojekt Veranda Culture. James pendelt zwischen London und Melbourne, während Newman hauptsächlich in Berlin lebt, aber monatelang zurückkehrt. Beide haben das bemerkenswerte Wachstum der Szene bemerkt. "Vor ein paar Jahren, als ich aus Melbourne kam, fühlte ich mich als Außenseiter in der globalen Szene, weil die Leute nicht dorthin schauten", sagt Newman. "Jetzt sehen Sie, dass wir über den Sommer viele Festivals haben, bei denen die Buchungen super nett und unterirdisch sind."

The Jackal Pt 2 (BSR007) by Sleep D

Corey Kikos und Maryos Syawish sind zusammen Sleep D, eine Produktions- / DJ-Crew aus dem Vorort Frankston, die das einflussreiche Label Butter Sessions leitet. Ihre Einstellung zu Hause ist meditativ und hypnotisierend: „Bush Snake“ aus The Jackal Pt 2 EP beginnt mit geistesverändernden Drohnen und einer Säurespirale, bevor sie im letzten Akt ihre Detroit-Technostreicher enthüllen. Ihre Veröffentlichung "Red Rock" ist eine atemberaubende Tour durch zonked Ambient Techno. Sleep D´s Weg in die elektronische Musik führte über The Prodigy, Chemical Brothers und Daft Punk. "Nachdem wir Radio gehört hatten, haben wir angefangen zu produzieren, Schnitte zu machen und auf Hauspartys von Freunden aufzulegen, und wir hatten nicht viel zu tun, wo wir aufgewachsen sind", sagt Syawish. Später entdeckten sie die tieferen Nischen des Genres, indem sie online stöberten. Die Butter Sessions / Noise in My Head-Compilation Domestic Documents Vol. 2 ist eine gute Einführung in die Melbourne-Szene sowie ähnliche Acts aus Perth.

Colours Of Infinity by Colours Of Infinity

Andy Donnelly machte ursprünglich Detroiter Techno-beeinflussten Dubstep, Bassmusik und Left-Field-House unter dem Spitznamen Kloke. Doch sein jüngstes Projekt, Colors of Infinity, widmet sich dem Sound der 1970er und frühen 1980er Jahre, den Architekten elektronischer Musik. "Ich ging zurück zu den frühen Ambient, Krautrock Zeug", sagt er. "Ich habe ein paar Jahre damit verbracht, Brian Eno und Cluster zuzuhören." Sein Album “Colors of Infinity” ist eine packende, gelegentlich verstörende Platte, die von den zersplitterten Beats und kaskadierenden Synth-Arpeggios von „Bomb Shelter“ zu den Ice Cavern Blips und Pieps von „Falling Apart“ navigiert, was eine Vorliebe für Early zu Aphex Twin verrät. "Aphex Twins Selected Ambient Works Volume II war schon immer ein großer Fan von", sagt er.