For anyone that’s been keeping a casual eye on what we’ve been doing with The Gate via this blog, just wanted to give you a heads-up that I’ll no longer be posting updates on that project here.
If you’re keen to stay connected with what’s happening in that universe, I recommend heading over and following The Gate’s tumblr. We’ve already announced a couple of new projects in the last couple of weeks and, all going well, we should have plenty more to talk about in the not-too-distant future!
Just the tiniest bit addicted to this tune from Tropics (a.k.a. Chris Ward) at the moment – an instrumental that fuses some lovely introspective ambience with a big 80s synth-pop underpinning. The video is very much a classic woozy psychedelic treatment – didn’t really add a lot to the track in my opinion, but enjoy the tune.
His Soft Vision EP contains three tracks, all very worthwhile and each exploring different territory – so I heartily commend taking advantage of the strong Aussie dollar and scoring a cheap download (AUD$4 at the time of writing) or 12″ copy of the tunes.
I hear word that an LP is not far away, so keep your ears open for new stuff from this universe. I’m expecting good things.
Merry Christmas! I’m normally a complete grinch at this time of year, but I’m shedding my seasonal curmudgeonly ways and getting into the spirit of giving. And blogging, for that matter! (don’t fall off your chair)
We’ve just released a video series of acoustic live performances called “Live in the Front Yard“, featuring The Paper Scissors, Valar, Tash Parker and Lessons In Time. The performances were shot in between soundchecks before our last show at The Gate. Masterfully directed by Matt Davis, they’re some wonderful performances by some wonderful acts that you owe it to yourself to get amongst. Enjoy!
Ghoul are back and I couldn’t be more excited. They’ve had a prolonged hibernation, surfacing for a show here and there but generally not doing too much to draw attention to themselves. I get the impression this has been due to some substantial labour being directed towards their followup to 2008′s A Mouthful Of Gold mini-album (which I loved)
“3Mark” is the second taste from their upcoming mini-album Dunks, which apparently will be out in January 2011. The first – Milkily – was a quirky, jagged tune which was solid but left me guessing which direction the band was heading in.
This new tune is bigger, more confident, more streamlined – and definitely more accessible than anything heard from the band prior. It also comes across as something of a genre study: someone has definitely been listening to Burial, as many of that artist’s hallmarks are present, including the syncopated rhythmic shuffles, his muted ambient stabs, and the pitch-shifted vocals. This isn’t a diss – the track wholly works, but the arrangement definitely bears a strong imprint of its influences. Giving this tune some distinction is a big, live-band middle 8 and outro which provides a nice pay-off to the song’s otherwise murky groove.
All of this said, I love the tune, even with it wearing the influences on its sleeve. What the song doesn’t give, however, is any more of a definite idea of what the Ghoul’s new “sound” actually looks like as a whole. We’ve heard two vastly different tunes so far, and I’m really looking forward to seeing what fills out the picture.
Also interesting is Ghoul taking a step on from their ardently DIY methods seen with their last release – the band have signed with Speak N Spell Records, have managers and bookings agents in the picture and generally look intent on taking things to the next level. I’m hoping it really pays off for the guys.
We’ve had some overwhelmingly amazing gigs at The Gate in the last few months – I’m very grateful to both bands and punters for making the events special. Having got a few nights under our belt, though, we’ve decided to make sure we don’t quickly settle into just doing the same old thing every month.
So – for October, instead of our usual live music event in the evening, we’ve decided to have a go at a daytime, all-afternoon BBQ all based around the little musically minded community that seems to have emerged around the venue.
To set the tone of the day we’ve called on some people with a reputation for fine musical tastes to DJ at the event, meaning you get awesome food and an opportunity to hear a wide variety of music both old and new.
Valar appeared on my radar a couple of months back, and having now seen them live a couple of times in the time since, they’ve become firmly fixed on my “band to watch” list. They’ve just released a short live performance film that very compelling makes a case for why you should, too.
This 6 and a half minute clip features two songs, and highlights all of the band’s trademarks: meticulous yet sparse songcraft, poignancy, and a very candid, genuine sense of human frailty. Impressively, the entire performance was recorded old-school: just two mics in the centre of a room – a gutsy move, giving the band little opportunity for editing or post-production trickery, so you’re definitely hearing the live performance without much happening between the recording and you.
The clip was gorgeously shot using a four camera setup all manned by Matt Davis in a pristine, church-like setting. Obviously a lot of attention to detail has gone into making sure the space really comes alive, and it all pays off wonderfully.
The band recorded an EP earlier this year entitled We Have A Home Amongst The Trees, which is available as a digital download or handmade 10″ vinyl from Bandcamp.
There’s nothing quite like the thrill of seeing a previously unknown band live that completely knocks your socks off. One of my best experiences of this happening in the last couple of months was when Border Thieves were championed by Jonny Nail to go on a co-curated July lineup at The Gate. I was familiar with (and loved) a previous band that a couple of the members were in – Hand Me My Jetpack – so I took Jonny’s word for it.
Pretty much, Border Thieves blew my mind. They’re an unbelievably tight live act, incorporating a diverse range of influences from tight krautrock-ish jams to shoegaze-y pop to uptempo punk-infused numbers. Liberally sprinkled throughout is a hefty dose of samples and electronic flourishes that really perfect and distinguish their sound. It’s a great package.
Border Thieves are launching a brand new single (their first physical release, I believe) this Thursday night at Melt Bar in Kings Cross. I highly recommend you check this gig out – they’re a distinctive act, and I hear rumours that they’ll be laying low for a little while after this gig. Seriously, don’t miss out on seeing them.
I promise this blog hasn’t just been relegated to being a PR device for The Gate… really, I promise! But bear with me while my schedule settles down… and I indulge myself in posting another reminder about our next gig.
Really excited about this Saturday’s gig. We’ve got local rising stars Guineafowl headlining, along with the one and only Alps of Newcastle/New South Wales/The World and downtempo/glitch-pop maestro Karoshi. I’m really pleased to have such a diverse set of music represented here, and I think there’s going to be something great for everyone to discover.
This will all be happening this Saturday and costs a $10 donation at the door, all of which goes to support the artists after costs. If you’re keen to come along, make sure you reserve your spot on the doorlist!
By the way, thanks to everyone who got along to last month’s show with Betty Airs, Border Thieves and Yae!Tiger. Was an amazing night, and you owe it to yourselves to catch all of those bands at a show soon. Gem has posted some photos of the night which will give you a feel for what went down.
Just a quick post with an update on the next gig for The Gate which, if you missed my previous post, is a new backyard venue I’m starting. This particular lineup was collaboratively conceived and organised with Jonny from Polaroids of Androids and it’s looking to be a fair barnstormer.
The Gate’s been a bit of a busy hobby the last few days, mostly due to word of it spreading a lot faster than I was anticipating. It all started with an unexpected news article on FasterLouder and then went on from there. Seeing the wide variety of responses (most of which have been incredibly positive and encouraging) has been a real buzz, and I’m really grateful to anyone that has offered their advice, enthusiasm or interest.
One of the many (many many many) artists that I’ve been wanting to write about for some time is an incredible new Sydney band that have just recently appeared on the radar. They’ve already begun collecting much acclaim around the traps, and really I’m just dropping in my additional two cents on a group that is sure to be doing many more great things in the very near future.
Bon Chat, Bon Rat are a three-piece group specialising in a melodic, partially electronic sound that never you never quite pin down to any particular genre. Somehow they manage to cohesively tie together a dreamy, synth-pop oriented sound while never actually sounding constrained by any of the particular “scenes” that synth-pop has found itself in. 80s synth-prog/pop revival? No, somehow it’s fresh enough that it never feels like it’s retreading a past movement. Chillwave? Nope, it’s definitely not within that category. IDM’s second coming? Nope, it’s more accessible, more organic than that. Throughout the EP’s play you can definitely spot a lot of seminal influences amongst it all, but as a whole the band manage to get away with sounding like they’ve got their own thing happening.
Part of the identifiable fingerprint of the band’s sound is live instrumentation which is frequently included without being too smoothed-over by effects and post processing. Whether it’s a minimal guitar arpeggio creating texture across the mix, or a distorted live bass line sitting amongst the foundations of a track – they have a direct, live feel rather than something that’s been shorn of its natural characteristics. In a sense, it helps give the impression that the band is much more than elements filtered through a laptop.
On their new six track EP, three of the tracks feature vocals (four if you count the vocoder-tinged closer “Nowhere Paradise”), which are all differently approached – ethereal in “Map of São Paulo”, densely harmonized in “Tribes” and very direct in “Le Rayon Vert”. All are impressive in their delivery – excellently developed melodies, great vocal performances. Meanwhile, the instrumental tracks are densely atmospheric, almost soundtrack-like pieces built around simple ideas which explore dynamics via elaboration in texture and instrumentation.
Through all of this rambling and raving I guess what I’m trying to say is this EP is great dammit and you have utterly no excuse not to have it when it’s available as a free download (linked below), or in physical form for the low price of $5. Go get amongst it.
