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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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Listen: Sewers – ‘Invisible Hand’

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Sewers

Photo by Glen Shenau at Mount ARI in Brisbane

‘Invisible Hand’ is the first single off Sewers’ last ever album. They’re breaking up, moving on, moving up, moving away.

I can’t write about ‘Invisible Hand’ as if I haven’t heard the rest of Sewers’ as-yet-unreleased final record. I have and it’s great – seems cruel to say cuz at this point there’s no guarantee when it’s gonna come out or in what form, or if it will at all, but that’s the truth.

To say that this is the most pop album Sewers have ever done would be wrong. It sounds like they might be bowing to some external pressure (that’s never been there), or giving up some kind of authenticity (that doesn’t exist). ‘Invisible Hand’ shows that that’s not at all the case. It’s more like what Sewers have always done, shaved down to a point, made more direct and urgent.

What it really sounds like is a really good three-minute rock song. It sounds like cutting the fat and getting to the meat of the real shit. Hoisted was hard and heavy, crusted over with muck, Weight dealt with punch-a-wall masculine self-pity. Both good records, but for their final outing Sewers seem to know a bit more about who their enemies are and are striking with purpose. Maybe it’s cuz of the lineup changes, maybe it’s cuz they’ve grown up, maybe it’s cuz they knew this was gonna be their last strangled shout, but they didn’t piss away their chance to make something meaningful.

For someone as obsessed with masculinity in music as me, a band like Sewers will always be interesting because they write music that mocks aggression and toughness by being aggressive and tough – which is a hard line to tread. I always come up against the question how much self-awareness can you have without any self-improvement, until you become as bad as dudes who aren’t self-aware at all?

It’s a dangerous thing when people start telling you that being fucked-up and dark is what makes you interesting or good. It makes people nasty. It makes people sneer and posture about not giving a fuck about anything. Sewers seem to have fucked all that off with this song and this record, and given us something honest and cutting that sounds good as hell. This record is as un-posturing as rock music can be, I hope you get to hear it soon.

Anyway I asked Shan Corrigan who sings in the band if he had anything to say about the track and he sent me something much more interesting than most of the ‘this song’s about a picture of a horse I once saw’ stuff that you usually get, so I’ll just put it all up here.

‘This is the song that kept me doing the band. We’d just finished-up touring USA and I came back feeling pretty worn-out with the band. I’d written a few riffs beforehand and one of those I’d called ‘Invisible Hand’. I was taking this to the band for a rehearsal when one of the guys quit the band. I guess that meant we had to replace him and during the search for someone else, I started writing again.

Simultaneously some personal shit was going down and I was there, right in the dumps with it. I didn’t feel like I knew who I was and I was pretending to be something I wasn’t. I was beginning to question my grip on reality – I certainly lacked perspective and this song was me grappling with that – those inner contradicting ideas.

When you suspend your value base for so long for some sort-of self-aggrandising “art” experiment things can get a little hairy. It was a luxury to be able to just piss in the wind; moan and mope about existence. But I realised I was deluding myself by believing that others were responsible for how I felt about the world. I had worn the “poor me, why am I such an asshole, when I’m actually really sensitive and caring guy” straight-jacket for too long. Just plain ignorant and short-sighted. When in reality I’m not even a drop in the bucket and I’m lucky to be here – doing what I am. Most people don’t get a choice and that’s what/who this song is about. Yeah this is long-winded dribble but the band isn’t called what it is for nothing.

Thanks to everyone who played in the band, put out our records, recorded us, organised shows, did posters, played with us, came to our shows and/or supported us as collectively or as individuals. Peace out fuckos, all our songs are about love.’

IF YOU’RE IN BRISBANE GO SEE SEWERS PLAY ONE LAST TIME TONIGHT AT THE BEARDED LADY

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WATCH: Multiple Man – Power Fantasy

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multiple man

The new Multiple Man video is a piece of sun-drenched nostalgia that incorporates home video from Chris and Sean Campion’s childhood in Brisbane with grainy footage from Expo ’88. Lol. Nah it’s 5 minutes of weird shit. Disembodied torsos, fish-eye videos of flowers, pulsating 3D shapes, roses, statues and pillars – classic iconography of power and desire. The video was made by Tim Dwyer (Horse Macgyver) who mostly does live visual art work (and is one half of terrific experimental project Half High), and it shows. The pictures are driven by the vibe of the music, rather than any narrative, and would work really well accompanying the track live (which hopefully they’ll do, but you know, projectors are annoying).

Despite Chris moving to New York about two years ago, Multiple Man haven’t lost sight of what makes them good – they’re a party band, made for jerky, sweaty dancing – even the vocals are rhythmic in their monotone and the cheesy edge to the beats makes it all so goddamn fun. They’ve never tried to reinvent the techno wheel, but it’s hard to think of a band in Australia that does what they do better. Welcome back, maniacs.

This song is off Multiple Man’s latest record with the very silly title of New Metal. It’s out in America now on DKA and out soon in Australia on Paradise Daily. Chris is also popping back over to play some shows around the place in June.

‘5 NIGHTS OF FIRM HANDSHAKE ELECTRONIC BODY MUSIC’

June 9 – MELBOURNE at LAZERPIG with MULTIPLE MAN DJs

June 10 – MELBOURNE at YAH YAHS with CUTTING ROOM, NERVE, MILITARY POSITION and BITUMEN
DJs
MOOPIE (Jealous God, Blackest Ever Black, a colourful storm)
JESS SNEDDON

June 15 – CANBERRA at Pickle at POLISH CLUB with HORSE MACGUYVER, KARLI WHITE,
CALIFORNIA GIRLS and PICKLE DJs

June 16 –  SYDNEY at Angels at PORTUGAL MADEIRA CLUB with VARIOUS ASSES,
L.A SUFFOCATED, TRU and SEX HAVERS DJs

June 17 – BRISBANE at WOOLY MAMMOTH with KANGAROO SKULL, REBEL YELL, LEVANA, DJ DANGER DESTINY and DJ SAMMY D’ANGELO

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LISTEN: Spirit Bunny

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Spirit Bunny cover

Brisbane trio Spirit Bunny deal in a unique brand of noise pop, although the term ‘pop’ in this instance refers to the short, sharp catchiness of their songs as opposed to any subscription to traditional structures or formulaic song writing.

Their self-titled debut album is an explosion of overdriven synth, rollicking drums, and circuit-bent 8-bit craziness. This is electronic music with the earnestness and urgency of a live band.

Brimming with raucous energy, the band bursts out of the gates with opener ‘Disco Horesride Montage’, a suitably animated introduction followed by the equally infectious instrumental cut ‘Bunny Battles’. And even when the pace drops back on the bouncy, hip hop inflected ‘Screaming Keys’ the palpable energy remains. The band rarely comes up for breath until the latter stages of the album, where tracks like ‘CRT Screens’ and ‘Gold & Brown’ introduce a slightly more pensive mood. But even on these tracks it’s not long before the band continues their aural assault, as if rejuvenated by the brief respite.

Spirit-Bunny

Aside from the obvious influence of the chiptune scene, there are nods to bands like Battles but with a scrappy, garage band tenacity. This is not background sound to lull you to sleep, this is brash, insistent music that demands your attention.

The band are wrapping up a national tour in support of the album with just a hometown Brisbane show remaining. For those of you who missed catching the band on tour, hopefully it won’t be too long before they head out on the road again. Until then, grab a copy of this fantastic debut now.

Brisbane launch:

May 20th @ The Bearded Lady

w/ Low Season and Leavings

 

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WATCH: Pregnancy – ‘First Kiss’

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Pregnancy

Yeah, that tape got released last year, Pregnancy did the whole Northcote Social Club she-bang and everything for it – but some songs are born for long everlasting life, and ‘First Kiss’ is such a song, given a new shot of life as the shiny lead single for Pregnancy’s upcoming LP, Urgency.

Pregnancy always struck me as having some awkward growing pains, at least from where I’ve stood in the audience. You could probably spot the genesis of the project a little while off during shows for The Ocean Party, where Denton would sometimes, if he was feeling up to it, have a sneaky boogie with himself or even jump into the crowd. Denton is all stiff dance-moves and low-register but, in a way, it feels like he’s pulling from the same book as artists like Alex Cameron or even his band-mate Snowy’s other project ‘No Local’ (in which Denton plays drums).

Lone dude with a microphone in a semi-formal get up; a pastiche of 80s romanticism at its finest. The synths are urgent, the guitars angular, the melodies heartbroken; everything’s perpetually running in the rain to a betrayed lover, asking for one last chance. The video shows the band playing cosy in a small room, juxtaposed with images from Pregnancy’s February tour.

Give it a watch below, get a taste of Denton’s dance-moves and perhaps buy the tape.

Head along to the ‘First Kiss’ single launch this Thursday, May 4 at the Tote, with support from Frances Fox, Tenderhooks and Qwerty.

Urgency is out in July via Melbourne’s Lost & Lonesome Records.

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LISTEN: Angie – ‘Shyness’ LP

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shyness

When I wrote about Angie Garrick’s first solo album Turning in 2013, it was a very different time. You could say you liked ‘garage rock’ without being heavily side-eyed at a house show (and I was writing shit like ‘soul crunching riffs’ seemingly without wincing myself to death). I don’t stand by much of what I said back then, but even that me was smart enough to see the power of that brave and brutal album. Then on Free Agent she went a bit rock dog, putting herself front and centre. Braver still maybe for a woman in Australia.

Shyness is the best thing she’s done by far. It is absolutely grim. It’s crushingly beautiful. Garrick’s monotone vocals resigned; ‘Nothing in Store’s singalong chorus of ‘nothing to count on / nothing in store’, followed by tracks based around rich and heavy sounding piano. Everything echoes for a thousand miles in each direction, like Garrick reaching out – but then it’s so insular as well. How can something with so few parts do so much damage, how can a record that often sounds restless leave you with a feeling of contentment? I don’t know, but Shyness does it.

I won’t pretend to know much about the piano or instrumental music in general, but ‘On Being Blue’ is something so special to me. There’s the stunning way the piano chases itself around in circles, pausing hesitant then striding on with confidence. In other places it’s joined by fractured guitar catching up then falling behind, then catching up again, both instruments woven together loosely but with purpose. Even when the music is beautiful, Garrick’s vocals bring a sense of foreboding. She’s living in a world of whispers and shadows, keeping you at arm’s length even when you desperately want to be let in. A lot of musicians will say stuff like ‘I don’t really think about how other people are gonna feel listening to my music when I make it’, which is mostly bullshit, but Angie I’d believe it. Shyness is a graceful, poised record captures the precious weight of isolation.

Angie is on tour later this month. She’s also playing the Repressed Records show at Vivid on June 1. Total Control are playing. See you there.

FRI MAY 26 – 107 PROJECTS, SYDNEY
w/ KNITTED ABYSS, SPIKE VINCENT & TABLE
TICKETS | MORE INFO

SAT MAY 27 – AINSLIE ARTS CENTRE, CANBERRA
w/ THUNDERBOLT CITY + MORE TBA
TICKETS | MORE INFO

SAT JUNE 3 – SOME VELVET MORNING, MELBOURNE
w/ SUPPORTS TBA
TICKETS ON THE DOOR | MORE INFO

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