New Music

LISTEN: Body Promise – Fantastic Effects

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body promise

Body Promise, founded by Doug Wright of Fishing fame and current FBi Radio music director, Amelia Jenner, started life as a radio show on the aforementioned station’s digital outing, FBi Click. Their passion for new and interesting club music and penchant for expertly curated guest mixes made the show a hub for forward-thinking producers across the club music spectrum. The duo has since expanded, dabbling in show promotion, making the move to FBi’s Sunsets slot, and most recently becoming a fully-fledged record label.

Drawing from their experience as purveyors of exciting local and international talent, the first outing for the label was Harmony from a Dominant Hue, a compilation showcasing the who’s who of the local Australian club underground. Just a little over 12 months later Body Promise present Fantastic Effects, which picks up right from where Hue left off. Pulling together another stellar list of primarily local artists, Fantastic Effects explores a more percussive palette, spanning outright rollers from the likes of Hot Wavs and HED Ardennes to more esoteric contributions from DIN (Rainbow Chan & Moon Holiday) and fake (aka Cassius Select).

Elsewhere, Melbourne heroes, friendships, turn in the distinctive and expansive ‘GUT ROT’, while Sydney mainstay, Tom Smith, dishes out a couple of rhythmic workouts, firstly under his T.Morimoto moniker, then later as one half of new duo Poison with fellow Sydney-sider DJ Plead.

Having already left an indelible mark on the Australian club music landscape it will be exciting to see how Body Promise grow and diversify in the future. For now, grab your copy of Fantastic Effects and while you’re at it grab a copy of Harmony from a Dominant Hue too and really set yourself up for the summer.

 

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LISTEN: Ptwiggs – Purge

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ptwiggs

Sydney producer, Ptwiggs’ Debut EP, Purge, released via exciting new Sydney imprint Deep Seeded Records, is a white-knuckle ride through fierce sonic territory. A neon-lit dystopia where skulking, ambient synth pads are juxtaposed by a relentless rhythmic assault. Where woozy melodies and sampled Japanese vocal snippets collide in nightmarish distress, and it’s all you can do just to hold on.

Twigg’s maximalist approach shares common ground with a new breed of uncompromising bass music experimentalists like WWWINGS, Amnesia Scanner, and fellow Sydney-sider Grasps_ (with whom Ptwiggs and WA?STE recently collaborated on the track ‘Praying Waiting’). The music seems like a response to a sensory overloaded society on a seemingly inexorable march to tipping point.

The EP follows a string of equally impressive singles, ‘Cry for Ikari’, ‘Hypno Game’, and ‘Clarity’, each one adding another layer to the determined aesthetic vision which now reveals itself fully with the arrival of Purge.

These are futuristic dancefloor productions with little regard for the actual dancefloor. Refreshing, ambitious music that bullies you into the passenger seat and locks the door from the outside.

Purge is available digitally and on vinyl via Deep Seeded Records here.

 

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LISTEN: Raven – The night is dark, the night is silent, the night is bright, the night is loud

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raven

Renowned Sydney cellist, Peter Hollo, has built a solid discography over the years. Aside from his work as a member of FourPlay String Quartet and Tangents, he has become somewhat of a go-to player for recording artists when strings are required. This has seen him play and record alongside a countless list of both local and international artists including Oren Ambarchi, Seekae, Holly Throsby, Lisa Gerard, Philippe Petit and many more.

His solo work and collaborations have been consistent over the years; however actual releases have been more sporadic to the point where his latest full-length, the night is dark, the night is silent, the night is bright, the night is loud, feels like his first fully realised album.

Under his Raven guise Peter’s layered cello creations draw from far-reaching influences including neo-classical, ambient, post-rock and various forms of electronic music. At times his playing is intimate and personal, at other times expansive and dramatic. His chops as a cello player will come as no surprise for those familiar with his work, but what is unexpected are the sparse, ambient pieces, peppered with delicate piano and electronic flourishes. These explorations showcase the breadth of Peter’s influence and abilities as a musician.

The epic ‘descent’, is a perfect example, beginning with sprinklings of piano set against scrappy percussive clatter and eerie pads, before a sinister synth growl threatens to swallow the piece entirely. After the turbulence subsides the growl still looms in the periphery. A territorial predator preserving its turf.

I feel it would be almost cliché to call the album cinematic as this word is overused and tends towards the grandiose, however there is an undeniable film score quality to many of the pieces. The clever, understated arrangements evoke imagery perfectly suited to the moving screen, from the anxiety-fuelled horror of ‘infestation’, to the ramshackle convoy of ‘copra’.

The night is dark… is an adventure which invites you to saddle up with it. It’s music to accompany your next expedition, be it across the globe, or across the street.

Peter is playing shows in support of the new album. You can catch him in Sydney this Thursday at Venue 505, then onto Canberra on October 21st at the ANU Drill Hall Gallery

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LISTEN: Rolling Mass – exclusive mix

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Rolling Mass

Electronic duo, Rolling Mass, is a collaboration between Melbourne artists, Carolyn Schofield and Max Kohane. On paper their respective work appears to have few points of intersection musically, Schofield with her sprawling ambient synth explorations as Fia Fell, and Kohane with his exhaustive discography taking in grindcore, modern composition, sample-based beat music and beyond. Their debut EP, Prime Unity, doesn’t favour either camp but instead uses elements from each artists’ sound to explore something new altogether. The result is an intriguing mix of techno and free-form electronica where bubbling samples meld with pulsating synth in an evolving sound world that is both nostalgic and futuristic.

The video for the title track, created by Errol Green (Exotic Snake, Yolke), perfectly captures this world using feedback generated through a 90’s video mixer.

Despite only containing 3 tracks the EP feels expansive, each piece stretching out beyond its own orbit. Prime Unity will no doubt appeal to fans of Schofield and Kohane’s individual work, and should also pick up some new fans ready to take this unique voyage. The EP is available on vinyl and digitally via Brain Dead Records here.

To celebrate the release of their EP the duo have compiled an exclusive mix for whothehell. Featuring tracks from heavy weights like Carter Tutti Void and Jan Jelinek alongside more obscure artists such as Tourist Kid and Body of Adonis, the mix provides great insight into some of the music they enjoy and the music they create.

Tracklist:

Heldon – Moebius
Danny Wolfers – Fantasy Or Dream I’ll Take Anything
Suzanne Ciani – Concert At WBAI Free Music Store
Convextion – Distant Transmission
Beatrice Dillon – Poisson
Carter Tutti Void – V 3
Helm – Olympic Mess (N1L Remix)
Helm – Olympic Mess
N1L – Jaget Och Maskerna
Sleezy D. – Trust Track
Suzanne Ciani – Concert At Phil Niblock’s Loft
Home Listening – mixmixmix (excerpt)
Body of Adonis – Gossip/Grooming
Phuture – Acid Tracks
Jan Jelinek – Do Dekor
Tourist Kid – Under Armour Suite
Lukid – Riquelme
Panasonic – Vaihe (Fön)
Giuseppe Ielasi & Andrew Pekler – Yallingup
(N1L – Jaget Och Maskerna)
Helm – Olympic Mess (N1L Remix)

 

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LISTEN: Mere Women – Big Skies LP

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mere women

If there was any justice in the world Mere Women would be like, as huge as Smith Street Band but with the critical respect of like, Total Control. I reckon they could have been The Jezabels three years ago if your average Triple J listener liked things that are good instead of things that are bad. I reckon they’re so amazing.

It’s hard to overstate how important Mere Women’s  last record Your Town was to me in 2014 as a hyper-dramatic, desperate 21 year old. To hear something with so much fire and fury and power in its naked desire. Made me feel more and more terrifically crazy at the same time. Three years later and there’s another Mere Women album. And it sounds a bit different. And for one second I felt that knee jerk reaction to whine ‘oh but I liked it befooooore’. But just for one second, because Big Skies delivers something broader in scope and sound, that still crackles with the same intense dis-ease as the best of anything they’ve done before.

There’s less of those catch-in-your-throat, defiant guitar melodies that cut all other post-punk aping guitar bands into ribbons. But you already knew they could do that. Did you know they could write huge-sounding rock songs with depth and texture that still sound whip-sharp and lean? Or two in a row, like they’ve given us in ‘Birthday’ and ‘Big Skies’?

The three elements that have always made up the base of their sound remain unchanged; the interplay between strident, aching vocals, white-hot guitar and powerful, eccentrically technical drumming. There’s just more and more sound filling up the space, rounding everything out and making it something less easy to categorise.

‘Drive’, with it’s ‘I give up I give up / pick me up pick me up’ crazed muttering repetition brings some of their old recklessness and desperation. The vocals, roll over each other, the changes in pace and melody building to tense frantic verses into choruses that almost give the closure of a huge release but hold something just back. There’s a lot of disparate, busy and fast-moving parts across this record that could have made a mess out of lesser songwriters. Instead it all sounds – not easy, there’s nothing really easy about the sound of this record – but natural. They even made an echoing piano ballad like ‘Curse’ fit in a way that doesn’t feel shoehorned in.

It feels weird to say that this is a darker album than Your Town, because that was some heavy shit. But I think Big Skiesencompasses more than the kind of obsessive love and desire that drove the older record. They’ve combined personal and political into a generalise feeling of discontent, anger and fear. That all this darkness never drags just shows how fucking good these guys are at writing songs – they move with pace and purpose, beautiful and terrible.

You can purchase Big Skies from Poison City Records right NOW

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Mere Women are playing some shows supporting this record with some real hot shit supports:

CANBERRA Thursday June 22 w/Wives & Little Lunch at The Transit Bar

SYDNEYFriday June 23 w/ Marcus Whale & TAFEWRM at The Red Rattler

SYDNEYSunday June 25 w/ Oslow & Carb on Carb & White Dog & The Kirks at Urge Records

MELBOURNEFriday June 30 w/Terrible Truths & Spit at The Curtain

BRISBANESaturday July 8 w/100% & Ultra Material

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LISTEN: R Hunter – Exclusive Mix

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r hunter pic600

Young Melbourne-based producer R Hunter, aka Asher Elazary, inhabits an intriguing zone where found sound, noise, and techno-leaning electronic music intersect. It’s a zone he shares with other contemporary fringe-dwelling artists like Sd Laika, Amnesia Scanner, and Dedekind Cut. His debut, Estrus, released via Nice Music late last year, is a saturated deconstruction of club music, in which pummelling rhythms emerge from sludgy collages of sound, only to drown again in the frenzy. This is music to soundtrack your next anxiety-fuelled nightmare, forward-thinking, introspective and challenging.

Starting out playing guitar, Asher followed a number of musical paths before deciding to focus his efforts on electronic music – something he’d previously only dabbled in. Currently studying classical composition, Asher is interested in “electronic music that deconstructs the genre and re-contextualises it outside of club spaces”. “The idea that an artist is able to communicate their identity and life experience through a certain choice of sounds, particularly via sampling and field recording,” he says, is particularly important to him.

Asher explores memories and different emotional spaces, processing sounds via “fairly destructive audio programs” he’s written, which form the structural basis of each hellish soundscape. “I guess I found it amusing to explore my own trauma through techno and electronic music,” he explains, “probably because I am absolutely terrified of clubs”. Asher also uses his live sets to address the origins of anxiety and trauma. He spent a lot of time designing tools that allow him to remix and loop elements on the spot, and he’s created intense audio-reactive visuals that he describes as “somewhere between the Gantz Graf [Autechre] music video and the Windows 98 maze screensaver” (the latter a playful reminder that his computer is always on the verge of a meltdown).

Asher is currently working on new music, moving away from dance music formats and focussing on the noise elements. His approach to writing music has also changed, with a new emphasis on live performance.

Before we get to hear new music from Asher, he’s created this mix for whothehell.net, with music from a host of international and local artists including Hyde, Pollen Trio and Marcus (not Singing), as well as some exclusive R Hunter material and remixes. Get down and dirty for the next 45 mins.

 

Tracklist:
Young Thug – RiRi (r hunter edit)
R hunter – Cvntvtv (r hunter edit)
Dedekind Cut – Fear in Reverse
SHALT – The Treatment
Hyde – Thunder Paint
Shxcxchcxsh -SsSsSsSsSsSs
Demdike Stare – Dyslogy
Marcus (Not Singing) – To be Possessed
Doll – Fun
R hunter – BoYz ToYz
Battle Trance – Blade of Love I
LOFT – Zissou
Frank Ocean – Nights (r hunter edit)
Grischa Lichtenberger – 002_0415_09_re1214_06_re_1114_27_re_ 1014_21_re_0614_20_lv_2g_2_b
Jenny Hval – The Great Undressing
Nina Buchanan – Wet
Helm – Olympic Mess (Beatrice Dillon remix)
Motion Graphics – City Links
Pollen Trio – Moon
Yu Miyashita – The Silent Pulse
Bataille Solaire – B.M.B.S.
Yves Tumor – Perdition
Allan Holdsworth – Endomorph

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LISTEN: Ferla – ‘Guilt Pop/Stay Posi’

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Melbourne’s Giuliano Ferla (or just Ferla) has dropped a double EP of break up tracks, the first half a re-release of his 2015 debut ‘Guilt Pop’ and the second half the more optimistic sounding ‘Stay Posi’, as if by projecting positivity Ferla can shake the heartbreak hangover. All tracks could be sung to an empty hall littered with party detritus, glittering streamers reflecting disco lights across the room as Ferla sings his sadness to no one in particular. It’s unequivocally a tale of heartache coloured by dystopian glamour, sometimes personal but also on a bigger scale like the vague fear that comes with living in a world a that’s about to take you down with it. The release isn’t short on ideas in the way that some “break up” records are overly indulgent (even with the self-reflectiveness in the title ‘Guilt Pop’). 

The pop I hear is Australian Crawl and Simple Minds rounded out with the darker layers of Lost Animal. Ferla’s croon booms across the entire release like a more elastic Jack Ladder, from the deep resonance on ‘In the Night’ to the falsetto in ‘I Can’t Let You Down’. Although it’s one of the older tracks ‘In the Night’ is still my favourite, it has this stalking pace that makes Ferla’s melodies that little bit more cathartic.

The opener ‘Breakups are Hard for Everybody’ is one I’ve seen a few interpretations of, a personal narration of intimate frustration against the backdrop of a world falling apart: “Bitch leave me alone / I said as I slam down the telephone.” After abruptly ending the call our hero continues watching news of suicide bombers and ebola. Everyones got their own problems, and perhaps this is a case of trying to get perspective on a personal situation by putting it in a larger context or having so little feeling left that you’re as numb to your immediate surroundings as you are to distant sufferings. 

From here the record moves through the motions, confused but determined to commit to the breakup on ‘I’m Nobody’s Baby Now’ (replete with a shred-the tears-away outro), the romanticised revisionism of ‘In the Night’, dealing with the consequences and reality of separation on ‘I Can’t Let You Down’, through to the fuck you finality and bouncy synth lines on ‘Wasted on You’. It was definitely the slow-burners that hooked me on Ferla, but he’s also adept at high energy synth rock even when tearing down a future he’d previously envisioned on ‘Children are Our Future’.

There are so many entry points to connect with Ferla emotionally across Guilt Pop and Stay Posi that the fact it’s also an incredibly compelling listen is almost a moot point. That is, if it weren’t for that combination making this the perfect soundtrack to purging someone from your life.

If you’re in Melbourne, you can purge head to Ferla’s EP launch at The Tote on Friday June 16.

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