Last year after some good ol' fashioned soul searchin' I realised that working on LPs for a few years and then spewing 8 to 12 songs at people in one hit wasn't making me feel as fulfilled as it used to. So for a while at least I'm going to release singles (with an A- and a B-side) as quickly as I can. Which might not be that quick because I'm slow. But hopefully every two and bit months.
With that said, the first of them is out, and is called Tender Anchoret / Meditation. You can listen to and buy it on my Bandcamp page. As usual, love goes out to Cailan Burns for the artwork - who's used some photos by Andrew Hughes - and Cornel Wilczek for the mastering.
This new little thing of four songs is called The Harmless Hex. It's available now to hear and buy on my Bandcamp store.
Special mentions to Cornel Wilczek for taking his considerable frustrations out on a fretboard for the first and last tracks, as well as mastering the EP with one ear only. As usual, the incredible artwork comes courtesy of Cailan Burns.
Late last week I finished my new EP. All I need to do is make a few minor mix changes, get some cover art, and get Cornel Wilczek to guitar solo the bejesus over one of the songs. I’m hoping to have it out as soon as digitally possible, and the whole process has inspired me to make a lot more little records. I think the rest of the year at least is going to be dedicated to shorter, more frequent releases. This first one doesn’t yet have a name, but I’ll post it up when it does.
In the meantime, I uploaded an edit of the music I made for Dark Mofo’s Ogoh-Ogoh burning (above), so you can now stream what The Guardian called “a rousing Deep Forest-esque rave-up.” If that sounds like your cup of tea.
Lots of love, and more soon.
No news is good news? Here's some anyway!
I've made some music for the Ogoh-ogoh part of this year's Dark Mofo festival in Hobart, which is happening this month. People are invited over the course of the festival to write their "deepest, darkest fears and secrets" on the ogoh-ogoh. The 'demon-like sculpture' will then be transported on the evening of Sunday the 21st of June to another location for a ritualistic burning. My track will play as people dance and the dark spirits are purged with fire, so you should totally attend.
I'm also almost done on a new EP, which'll probably be finished in a month or so. THEN I'm going to make an EP for my friend Kris' label, which'll be pretty dance-ey. This has been a fun and productive year so far, and I can't wait to give you as much music as I can in 2015. Thanks, as always, for checking in.
This is me, base-touching after the holidays to see how everyone is and to tell you in no uncertain terms how I am. And those terms are: 'pretty good' and 'cheers for asking'.
Thanks to anyone who listened to or bought The Motives Records since its release in September, or said something kind about it online or to my face or somebody else’s. That upstairs image is related, as Miks from Australian music blog MAAMF listed the record as one of his top 10 Australian albums of the year. This was such a nice surprise and not the worst way to end ‘14.
Because they weren't the greatest 12 months of all time I was a little relieved to see the back of them. But the upshot is that I’ve made some secret promises to myself about what I want to achieve this year, and so far, a month after these resolutions, I’m still holding myself to them. It means a bunch of new songs and projects, but more significantly (for me, at least) it means some adjustments to lifestyle and my relationship to music making. And so I’m having fun again, and should have new songs for you to hear before too long. Thanks for listening, as always.
My new album is out, and let me tell you: what a load off. I launched it Saturday evening with a small show in front of some friends, which Melbourne musician Ben Mason took the time to post an incredibly kind write-up of.
I want to thank in particular a few of those friends who helped directly with the record, because there aren't any shout-outs in the liner notes. Cornel Wilczek played on it and co-produced it, and was a constant source of enthusiasm and encouragement. Jojo Petrina sang on it, and always did so effortlessly. James Cecil played percussion on it without realising, and had faith when mine faltered, and Cailan Burns made all that amazing artwork that elevates the album.
I'm looking forward to starting something new. My love of making music has been renewed in the last year, and it won't be long before there's more of it for you to hear. In the meantime, you can stream or purchase The Motives Records at my Bandcamp.
This is the closest thing the new album has to a title track.
To celebrate the release of the new record, I’m having a party on Saturday September 20th at Captains of Industry.
This is not so much a launch show an excuse to mark the occasion with good people. But I will be performing some songs off the record, and there’ll be DJing and ‘special guests.’
It’ll be $10 to get in, but that will get you a code to download a copy of the album. So you can see it as a free album for the cost of entry, or a free show for the cost of the album. Whichever feels most like money well spent.
Hope to see you there.
Friends, I’m so happy to play you 'Burning Arrow', a song from the new Clue to Kalo album The Motives Records, out September 23rd.
The album was recorded at Electric Dreams here in Melbourne with the assistance and advice of my buddies and colleagues. Particular thanks go to Cornel Wilczek who co-produced the record, Jojo Petrina whose miracle vox needed to be mixed way down lest they outshine my own, and James Cecil who unwittingly played some percussion (I stole some of his multitracks from the studio computer).
The album will be digital-only at this point. I’d love to look at other formats in the future but right now it makes the most sense to me to do things this way. It allows me to publish more often in whatever configurations I can think of, to transition from releasing a record once in awhile to outputting a steadier stream of experiments, succinct or extended, that can theoretically be heard the day they’re made. For me, it means control and self-sufficiency, and I’m excited about what’s next.
Over the coming weeks I’ll be making more songs from The Motives Records available for download in the lead-up to a launch party on Saturday the 20th September at Captains of Industry. If you're interested you can even pre-order the album here. I can’t wait for you to hear it.
We took a trip down to Hobart the weekend before last for Mona's Dark Mofo winter festival. I’d attend it (and its sister summer version) every year if I could.
I like the Museum of Old and New Art because it doesn’t need to be read as a catalogue of art objects. It’s accessible because it can be enjoyed just as a day out inside a dark bunker filled with interesting things. When I walked around MOMA I was aware of the neutrality of the space. White walls and white lights to minimise distraction and funnel your attention to the main attractions. But if you’re someone who struggles for a connection to the work itself you might have nowhere to go. Mona offers an alternative way to engage. It can still be fun just to catch a ferry and burrow down into the cliff, spend an afternoon bewildered.
The (Dark) Mofo festival is the same kind of thing. It’s not about a 'killer line-up' (although if you’re a fan of a band performing then it’s a great way to see them) but about how each of the acts can be integrated (pretty seamlessly, usually). It invites you to see it as a single thing and love it overall.
This time around, most of my time was spent at the festival’s Dark Faux Mo afterparty, run by Supple Fox. I’m biased because they’re my friends, but they have a lot to do with what’s great about Mofo. So I was excited when they asked me to knock up a 10-minute piece of music for a light show in which cat statues shoot laser beams out of their eyes at a mirror ball. I decided to make it mostly out of samples for something different. It's embedded above.