Tagged By setec

LISTEN: 2017 in 10 Tracks

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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.

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LISTEN: Setec – Cotton Bones

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Cotton Bones cover

In 2014, Brittle as Bones, the intimate debut from Setec, aka Sydney artist Joshua Gibbs, was released via artist collective Feral Media. Combining gentle melodies, ramshackle percussion and looped acoustic instruments with deftly chosen samples, the album created a warm and delicate world, each track immersing you in gentle evocations of a different time and place.

Over the past few months we’ve heard rumblings of a follow-up LP, and today we’re excited to present lead single ‘Cotton Bones’. Opening on a minimal piano loop, with spectral echoes dispersed among pitter-patter rhythms, the track recalls the dusty layers of Grizzly Bear’s Yellow House or Four Tet’s early folktronica.

There’s a melancholy to ‘Cotton Bones’ – perhaps typical of Setec’s nostalgic approach to song craft – which is belied by a breezy chorus. The song gradually blooms into a bright singalong moment, as Gibbs adds his own voice to the gauzy source material.

Sydneysiders can catch Setec launching his new single at the Gaelic Club next Saturday. The gig is hosted by Skydreams, with support from Spirit Faces, Imperial Broads and Okin Osan. Full event details on Facebook. You may also be lucky enough to pick up an extremely limited lathe-cut vinyl copy of the single, with 3 alternate sleeves.

Stay tuned for more news on Setec’s second album, but for now slide into ‘Cotton Bones’ for a while.

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PREMIERE: TEEF Records – Imperium in Imperio

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TEEF Records‘ mammoth charity compilation Imperium in Imperio drops today, and it sure is worthy of the grandiose title. With tracks contributed by 16 artists, from the established to the almost unheard of, it functions as a kind of statement of intent for TEEF – a Sydney-based label launched last year by Sound Doc blogger Tommy Faith. The songs assembled here, previously unreleased, showcase Tommy’s taste for forward-looking pop that blurs the line between electronic and acoustic elements.

Featured artists include Melbourne producer Leaks, who also designed the compilation’s stunning marbled cover art, underground RnB sensations Collarbones, inaugural TEEF signee Spirit Faces, 17-year-old violinist turned pop artist Lupa J and sample-happy electro-folk artist Setec. There’s a restrained, dissociated-sounding track from the unstoppable Snowy Nasdaq under one of his many pseudonyms, Magnum Ego. Named ‘Slow Release’, it was apparently penned while zonked on experimental drugs as Snowy was undergoing dangerous medical trials. There’s also a track by a well-known Melbourne producer, submitted under the alias Hann as a one-off release.

From beginning to end Imperium in Imperio is swathed in lush and swirling sounds, both organic and propulsive. The highlight has to be ‘Diagonal’, the 10-minute centrepiece provided by Planète. It’s a driving and cathartic techno jam that betrays more than a passing affinity with James Holden’s Border Community. There are also excellent remixes by Yeo and Shisd, and a delicate, floating closer by house wunderkind Darcy Baylis.

A pay-what-you-feel download out via Bandcamp, all proceeds from Imperium in Imperio will go to OXFAM’s Nepal Earthquake Relief Fund, so quit browsing ya cheapskates – this isn’t a library.

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INTRODUCING: Setec

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Setec is Josh Gibbs, a Sydney-based multi-instrumentalist who stitches together organic samples – guitar loops, hand claps, voice – with field recordings, found sounds and snippets from old records to form nostalgic collages that recall the crackly bowerbird aesthetic of the Books.

In February 2012 Gibbs released the first Setec EP, Longer Letters – three tracks of improvised vocals and field recordings produced over two days in a city studio. A second EP, I’ll Be Good, followed six months later on Wood and Wire. Featuring layers of vocals and guitar loops, the EP is deliberately structured around a few samples and found sounds, and the seams are designed to show. Gibbs treats these foreign objects in the manner of the Avalanches or, say, Jens Lekman – as sources of inspiration to be framed and played along with.

On new single ‘Water or Concrete’ Setec is moving away from abstraction, bringing his voice, a sweet falsetto, straight to the centre and decorating it with a swooping mandolin and the sounds of chattering strangers. It’s his best track yet.

Setec’s debut album, Brittle as Bones, will be released soon, and he’s set to appear on Feral Media’s next Strain of Origin compilation alongside artists like Lower Spectrum and Power Moves. Catch him and his loop pedal playing a set this Thursday at Surry Hills venue the Forresters.

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