Reuben Ingall has many faces, somber avant-pop mangler, drone experimentalist, abstract beat maker, jocular mashup artist, and although his oeuvre is far-reaching there are distinct elements that join the dots, one of which is his guitar. His homemade effects can change the sound of his guitar from spacious reverberation to complete audio destruction, the instrument used to generate noise rather than melody and in some cases pushing the sound as far from the original source as possible.
Thread, his latest collection released via Canberra label hellosQuare recordings was recorded between 2015-2018 and spans pastoral acoustic pieces, reminiscent of Richard Youngs’ folk dabbling’s, meditative ambience, and sprawling, barren post-rock. And while Reuben did not set out to make a guitar-based album, in fact he states he “shied away from the guitar as an obvious source”, once he had 3-4 arrangements he was happy with he decided guitar would become the focus for the album.
Field recordings also play an important role, at times sounding like an extension of the guitars organic, earthy tone, other times placing the music in a context that is uniquely Australian. As to his approach, Reuben says “the writing of melodic and harmonic material mostly comes after my initial ideas around a way of recording and arranging and treating a sound.” This concentration on sound is another common element that runs through much of his work, but for those familiar with Ingall’s music you can’t help but expect to hear his melancholy vocals, fortunately the unfolding arrangements need no help keeping the listener engaged.
In addition to the music, Ingall has also created accompanying visuals for two of the pieces, each perfectly capturing the respective mood. The perpetually rolling topography of ‘Sediment’ simulates the vastness of the music, while the dizzying kaleidoscope of ‘Floriade’ mimics the flickering arpeggios. Always true to form the visuals provide another outlet for Ingall’s experimentation, the latter clip composed of footage taken with a phone camera attached to a cordless drill, the YouTube description claiming “no processing, only a dozen edits”.
Thread adds another notch to Ingall’s ever-expanding belt, an artist consistently pushing boundaries and continually innovating.
Wives are from Canberra and they know how to do it!
*link to video*
End of article.
Nah, we promise this is still a serious music blog. So, Wives are from Canberra and they know how to make music that makes its point, hits hard, no frills, no fuckaround. This new single is post punk at its best, minimal, cutting and cool. The video does everything that good Australian horror does – juxtaposes our perfect landscape with deeply flawed white culture. Beautiful pink galas and native flowers, framed in soft pastels, the chorus breaking into a scene from Summernats – a car festival that seems to attract an especially rabid kind of rev head.
Personally I love a good old fashioned rally down a mountain, but what’s happening here, either in fact or in clever editing, is something that seems about to boil over with violent excitement. Burnouts and shirtless dudes in speed-dealers and sombreros, terrible cars souped-up to all hell. It’s ugly.
The concept is clear, but never over explained. The refrain of ‘let sleeping dogs lie/ no comfort in this home’ will be familiar to anyone who’s felt the extreme discomfort of broad, hyper-masculine Australia. They perfectly capture the can’t-look-away fear of a drunken ‘sporting’ spectacle in ‘I peer inside / the white dogs mouth open wide’.
This is one of the most commanding tracks I’ve heard in ages, and I can’t wait to hear more from their new LP Doomsday, out April 4 on Black Wire Records.
In anticipation of their forthcoming album New Bodies, instrumental quintet Tangents deliver a new EP featuring album cut ‘Arteries’ along with two more new tracks.
On opener, ‘Stents’, the processing and production of Oliver Bown isn’t as immediately apparent, the band instead opting for a sound more akin to their live form. The flittering thrum of the electronics still provides the pulse, while the piano and cello parts gently inhale and exhale giving the controlled frenzy of Evan Dorrian’s drumming freedom to explore. As the track approaches a mid-point this balance soon shifts as Bown takes control, the drums swallowed up and spat back out in pummelling drum n bass rhythms, while the band paints in wild brush strokes across the musical canvas before a sputtering dissolve.
‘In the Beginning’ has a far more spacious feel, at times recalling the sparse post-rock landscapes of Talk Talk. As with ‘Stents’ the piece gradually morphs into something altogether different, in this case slowly building to a blissful, hypnotic crescendo as a perpetual drum loop and floating piano collide until neither is recognisable against the enveloping milieu.
Final track, ‘Arteries’ feels similarly sparse to begin, the undulating piano, subtly affecting guitar, and almost celestial atmospherics giving an air of euphoria, a mood that suits the bands sound perfectly. Flickers of this could be heard on their previous album – the final act of 12-minute opus ‘Oberon’ springs to mind – but this feels more fully realised here, an exciting preview of how the group has evolved since we last heard from them.
As with their previous effort, Stents + Arteries is released via U.S. label Temporary Residence who will also release the new album due out later this year.
Sydney artist Bilby (aka Blinky Trill, aka Harry Moxham) returns with a new EP, Walkin 2 the Lake, a precursor to the full-length follow up to 2016’s Botanicals. Here Bilby enlists the help of US producer Meltycanon, whose whimsical beats meld seamlessly with Bilby’s playful rhyme schemes and silky hooks.
Across its 5 tracks the EP finds Moxham playing many roles; Bilby the romantic on opener ‘ILY+YLM’ (released on Valentine’s Day no less), Bilby the blunted jokester on ‘Barnaby Joints’, or Bilby the critic on ‘Sydney Rapper’. The latter a commentary on his disillusionment with the local rap scene, a sentiment no doubt shared by many of his fans. And why not? There is very little common ground with Bilby’s music and the regurgitated clichés present in a lot of Australian hip hop. His eclectic musical taste and their influence on his own music makes more sense for it to be pegged as indie pop, or some other less restrictive genre tag.
But it’s on closing track, ‘Sittin’, where we see yet another side to the artist, a contemplative, almost despondent side that gives new meaning to his emo-rap prince title. That’s not to say he hasn’t dabbled in raw emotion before, in fact his candour is what makes his music relatable, but there’s a level of introspection on ‘Sittin’, that we’ve yet to hear from the artist.
On his upcoming full-length, Shade, Moxham takes on all writing and production duties, further developing the Bilby sound heard on Botanicals and 2 High 2 Sign High. And with the artistic growth displayed here, the album promises to be something very special.
Walkin 2 the Lake is available as a free download via Yes Rave here.
In the hubbub of year-end lists we’re keeping it simple with 10 great tracks released over the past 12 months. This list does not attempt to be definitive in any way, it is simply a bunch of great tunes created by some amazingly talented artists. If you’re not familiar with any of the music listed, do yourself a favour and give it a spin, consume it in your preferred method and hold it forever in your heart/mind/soul/other intangible essence incomprehensible to human beings.
Mere Women – Big Skies
Mere Women’s album Big Skies is a more sombre affair than its predecessor, the darker mood giving their distinct brand of post-punk a rich new depth. While tracks like ‘Tin Rooves’ and ‘Curse’ saw the band exploring a more spacious, restrained sound, the title track finds them in full flight. Murky guitars, driving rhythm, and a commanding vocal delivery which charts the full gamut of Amy Wilson’s range, from brooding baritone to urgent caterwaul.
Kirin J Callinan – Friend of Lindy Morrison
Kirin J Callinan delivered (at long last) his divisive second album, Bravado. Equally complex and simple, Bravado was an assured statement from an artist not content with repeating himself. While the tongue-in-cheek humour throughout the album makes it difficult to embrace at times, there are moments of sheer brilliance which transcend any questions of the artist’s intent.
‘Friend of Lindy Morrison’ is a stone cold classic. The music could be ripped from a 1980’s pop songbook with Callinan and guest Weyes Blood trading vocals in spine-tingling fashion.
Yon Yonson – Pattern Recognition 1
Yon Yonson’s quirky and eclectic blend of electronic indie pop hit a new high point with the release of their cracking album Yes No Sorry earlier this year.
One of the edgier moments from the album comes in the form of ‘Pattern Recognition 1’, with its sleek synth bass line and tough hip-hop beat giving Andrew Kuo a chance to deliver a punchy vocal performance.
Lovely head – Show Up (Rebel Yell remix)
This dream pairing fully lived up to expectation with Rebel Yell transforming Lovely Head’s dark experimental pop track ‘Show Up’ into a pulsing industrial stomper.
Rebel Yell and Lovely Head have each had a pretty flawless strike rate to date and the future certainly looks promising for both artists.
Shady nasty – Upwardsbound
Equally influenced by post-punk, hardcore, and jazz, Sydney-trio Shady Nasty make heavy, cathartic music punctuated by the searing vocals of front man, Kevin Stathis.
Lead single, ‘Upwardsbound’, is more melodic than the rest of the trio’s self-titled EP. Cascading guitar, crawling tempo and dramatic, soaring vocals. Exciting stuff from these newcomers.
Phile – Deadzone
Phile are Sydney duo Hannah Lockwood and Gareth Psaltis, whose harrowing techno creations are not for the faint-hearted.
‘Deadzone’, the final track from their self-titled EP, begins with a squelching, syncopated acid rhythm, but just as you start to get comfortable you enter the darkness. Sinister synth chords envelop the rhythm providing a suitably haunting end to the duo’s killer debut.
Total Control – Laughing at the System 2
In the death throes of the year Total Control managed to sneak a new (mini) album into the world. Much like 2014’s Typical System, the band continue to laugh in the face of conformity jumping from insistent post-punk, to modular synth experiments, to more conventional (in Total Control terms) garage rock.
The album is bookended by alternate versions of the title track, the opener a brash cacophony of clanging chimes, fuzzy guitar and synthetic drums. But it’s the album closer which finds the band at their scuzzy best. Urgent, scrappy and loads of fun.
Jikuroux – Cradle Bay
Hot on the heels of her Ruptured Pulse EP, Sydney producer Jikuroux aka Jess Lavelle returns with another solid effort on Cradle Bay.
There is something exotic about the music of Jikuroux, the melodic elements coming off like some mutant new-age music, while the hard-hitting beats keep it firmly rooted in the modern-day bass music landscape.
The title track captures this fusion nicely with sharp synth stabs and tight rhythms counterbalanced by a smooth melodic undertone.
Setec – Cotton Bones
The first single from Setec’s forthcoming album (due out next year) further refines the delicate intimacy of his debut, Brittle As Bones.
The melancholic ‘Cotton Bones’ opens on a minimal piano loop, with spectral echoes dispersed among pitter-patter rhythms. The song gradually blooms into a bright singalong moment, as vocal layers are added atop a typically gauzy and nostalgic sample.
Ptwiggs – Exuviae
Ptwiggs’ debut EP, Purge, is a provocative and uncompromising take on bass music. A white-knuckle ride through fierce sonic territory.
The second track, ‘Exuviae’, steps up the anxiety factor with a propulsive urgency that could soundtrack some futuristic chase scene, a scene where there is little reprieve for the poor soul being chased.
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.
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.