Tagged By Simon Lam

SEQUENCE: Klo

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Klo, a fresh electronic duo out of Melbourne, are kinda a big deal. They’ve had a litany of press, been shot by the right photographers and contacted by major labels the world over. Their debut single, ‘Make Me Wonder’, set the ball rolling, even drawing them attention from BBC Radio One’s Zane Lowe.

This is no small feat for cousins Simon Lam and Chloe Kaul, who recently released their EP, Cusp—and it’s largely thanks to the mothers who brought them together in the first place. For this electronic duo, playdates have given way to rehearsals in Simon’s home studio, which we were lucky enough to be invited to.

Located in Melbourne’s sandbelt, Simon’s shack, tucked behind his parents’ house, is something of an enigma in a region renowned for Alex Perry-laden housewives, Liz Hurley cameos and lads.

Kaul’s voice is also an enigma of sorts, sharing a lineage with the likes of Yukimi Nagano (Little Dragon) and Martha Brown (Banoffee)—artists who have demonstrably shifted R&B vocals into new contexts.

One of the most striking things about Klo is Kaul’s vibrato. It really does hit you like a train. Klo’s minimalist electronic palate aids this to a degree, but even on less vocally oriented tracks like ‘False Calls’ Kaul deploys an understated range with precision.

Their influences are more or less a melange, spanning Fantasia and James Blake to early cuts by the Streets.

Lam’s studies in audio engineering are readily apparent in the EP’s production. The intricacy of Kaul’s layered vocal parts is in no small part thanks to Lam’s experimentation, which you may have previously heard in his work with I’lls.

Next time you chuck on the velveteen textures of ‘Make Me Wonder’, please pay your respects to Mama Lam and Mama Kaul.

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LOOK: Paradise Music Festival 2014

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Photography by Bec Capp & Ed Gorwell

A friend described Paradise to me as a combination of his three favourite things: Lake Mountain, clubbing, hot chicks. That aside, shooting Paradise Music Festival was a photographer’s wet dream. The best aspect of the festival was the landscape, and the local bands and artists who filled the giant mountain clearing with some great tunes. The toboggan run turned amphitheatre is surrounded by dead white snow gums from the 2009 bush fires. Despite the stark reminder, it’s a dramatically beautiful setting. Compared to larger local festivals, the humbler crowd numbers meant for ample lounging during the day, and elbow space in the crowd at night. Festival creature comforts were all there; flushing toilets, hot showers (!), good coffee, lentils for dinner and a three level indoor ‘club’ inside a ski lodge.

Femi, Klo and Rat and Co played leisurely daytime sets, while Young Franco and Oscar Key Sung were first night standouts. I think most who attended would agree that arranging I’lls, Kirin J Callinan, Total Giovanni and Kirkis‘ back-to-back sets on Saturday night was curation goodness. Retreating indoors after midnight for an eight hour dance was fun and was a great way to beat the cold temperatures at night. Otologic and Harold closing Clubland to the backdrop of the sun rising over the mountains was more of a good thing that any dank city basement could afford. It may only be in it’s second year, but Paradise did live up to its name.

 

 

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INTRODUCING: Klo

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The musical gene is strong amongst the kin of I’lls singer Simon Lam. The Melbourne producer has enlisted his cousin Chloe Kaul to produce some lean, polished electronic music as Klo.

Their latest track, ‘False Calls’, is a brooding electro-pop tune with R&B influences. It combines a carefully constructed rhythm section with snippets of Kaul’s soulful vocals to create some compelling electronica.

Kaul’s voice is enveloping and badass, like lounging around your jacuzzi in a silk robe. The vocal melodies sound like they were carved right out of a stick of butter and smeared artfully over some subdued, polished production for the perfect R&B/neo-soul sandwich.

The vocal layering mirrors UK experimental pop act Tirzah, and ‘False Calls’ is similarly beautiful in the simplicity of its composition.

Klo will be performing at BIGSOUND in September.

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PREMIERE: The Ocean Party

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We love these guys. Most bands don’t usually don’t make more than twice an appearance on this blog (so many new bands, so little time), but these guys have somehow found a way around that. Dave has a blatant man crush on everyone in this band – while The Ocean Party’s member spawn-out into other local acts like Velcro, Kins, I’lls, The Removalists, Pencil, Ciggie Witch and Mining Boom makes shirking away from Band Bias almost impossible.

Amidst this band’s thread of solo projects, side projects and gratuitous sharing of talents across acts that have, and still continue to make important contributions to local music, The Ocean Party is the constant fixture in the chaos. And in a way, their Brunswick sharehouse (which featured in our photo essay of the guys earlier this year) seems to have become a central meeting point, literally and lyrically.

The band’s new track ‘Split’ which we’re premiering today sums up the band. The song’s subject is about moving away, but it’s a bit of a homecoming really.

Much like the song title, the band has had it’s share of vagabond members traipsing off to the UK and New York before returning back to the band or leaving to work on other projects. The Ocean Party originally met in high school in Wagga Wagga, but didn’t become a band until years later when they all found themselves living in Melbourne. After drummer Ben Protasiewicz departed for Perth, Simon Lam joined when their debut record The Sun Rolled off the Hills was recorded. 

After the album tour, Simon left Australia for England with his other band Kins, while the band started penning their follow up, Social Clubs. Simon made a prodigal return, coming home to record the second album, before departing again to focus on his other project, I’lls. A few months later, Curtis Wakeling (Velcro) left for New York for six months, so Joe Foley (Aleks and the Ramps) joined on bass and Lachlan Denton’s younger brother Zac moved from Wagga as a drummer. Curtis eventually returned from NY, and after getting the songs together for the new album the band packed up the van and headed to Tarcutta in NSW to record new material.

‘Split’ was recorded on Lachlan and Zac’s grandparents farm. During recording, the band moved away from the traditional idea of Lachlan Denton being the lead singer. Instead, the band took a literal approach to the song title, with every member of the band writing and singing their own songs. Zac penned ‘Split’ after moving from Wagga to Melbourne. “At the time I was just 18 and living with the rest of the band who had time to spare and less responsibility” Zac says, dividing time time for music and working as a plasterer for “shit wages and a hard-arse boss”.

Suburban nuances, the whole slave-to-the-man mantra is the obvious common thread through all our local bands denoting that token pop jangle. The point is to make the end result appear a lot effortless than the track’s intention/subject matter – and these guys do it well. ‘Split’ is a gorgeous, leisurely jam that could easily fool Shazam for a Real Estate b-side, but it’s not a sound we’ll tire of soon. The band have honed a much cleaner sound here, but those rolling guitar hooks and wistful lyrics are still hanging out right where they left off. The Ocean Party’s modesty and unassuming nature is what makes them so damn likeable. Knowing the nature of this band, the guys will probably see through a few more lineup changes. As long as they stick around chugging along making tunes about chugging along, we’re content.

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LISTEN: I’lls – ‘Speak Low’

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I’lls (pronounced ‘isles’; fingers crossed they’ll change this soon and save us all the confusion) have had a pretty sweet time since their self-released EP, Thread, came out in 2011. They had played just one gig – I’m assuming it was a good one – before being offered a slot at Parklife, and they’ve since opened for acts like Chet Faker and Flume. Sydney label Yes Please picked them up and is about to put out their next EP, A Warm Reception.

‘Speak Low’ is the second single from the upcoming release, and it’s a delight. Grounded by Simon Lam’s gorgeous vocals and the band’s warm, velvety production, the song opens with electronic sputtering, looped keys and a solid, live drum beat. The vocal harmonies build towards a stunning outro that floors me every time. There’s a lovely, arpeggiated guitar in there that’s reminiscent of some Radiohead tracks – that is, the cuddly, less paranoid, less ‘Knives Out’ Radiohead – but let’s not get hung up on that. Just give in, because this is lovely stuff.

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A Warm Reception is due out on 17 June.

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