Episode 31 - Disconnect Libertine
- 01. Low Island - Disconnect
- 02. Julianna Barwick - Same
- 03. MMOTHS - 0034
- 04. Hervé - Hallucinated Surf
- 05. ISAN - Parley Glove
- 06. Ricky Eat Acid - 'Hey'
- 07. A Dead Forest Index - Myth Retraced
- 08. Shining Bird - I Can Run
- 09. Syd Arthur - Evolution
- 10. Shearwater - Radio Silence
- 11. beGun - Dora (Applescal Remix)
- 12. Matador - Velvet Revolver
- 13. Merely - Libertine
Gorgeous & immersive on first listen & never loses its sparkle. She has tapped a vein of expression that is rich & powerful & affecting - PITCHFORK
Her ethereal multi-tracked harmonies have the devotional quality of gospel choirs, and the oddball allure of Björk or Yoko Ono. - THE NEW YORK TIMES
Describing this hazy, hallucinogenic album from Brooklyn's Julianna Barwick, you can neatly take Panda Bear's trippier tracks as a jumping off point, as Barwick loops and layers beautiful vocal harmonies with a similar slow-motion deep sea vibe. But this lovely debut is more than just derivative, and the wordless sound collages are transporting - OTHER MUSIC
Lacking definable lyrics, Julianna’s songs create their own themes sonically and leave nameless emotional impressions. Julianna’s talents as a vocalist push most of the musical strength in the album, her choice of melodic vocal overdubs with vocal percussion is fascinating and dizzying. Some sounds become as indecipherable as the human voice. Comparable to Björk’s Medulla approach to end instrumentation, most of the tracks are all vocal based. Julianna’s all vocal album has less of a political method behind it as does Björk’s Medulla; it’s based more on her natural approach to songwriting: spontaneously improving and recording immediately. Many of the songs were written on the fly. - TIME OUT NEW YORK
The Count (& Sinden), Machine’s Don’t Care, Speaker Junk, Voodoo Chilli, Action Man, the list goes on and on. If you’ve been anywhere near a dancefloor over the past few years it’s a fair bet that you’ve cut some rug to some of the above’s productions.
The common link? They’re all different aliases used by Joshua ‘Hervé’ Harvey, Cheap Thrills label boss, in demand DJ, remixer to just about everyone there has ever been and one of the most acclaimed dance music producers of the past decade.
His collaboration with Sinden as The Count & Sinden produced a club classic in the form of ‘Beeper’ with the album ‘Mega Mega Mega’ – featuring appearances from the likes of Katy B, Bashy and Mystery Jets - forming a genre-busting snapshot of club culture that saw the pair distil electronic music and new sounds from all around the world into something completely fresh.
Hervé’s early releases on Dubsided such as ‘Cheap Thrills’ and ‘Foxxy’ were genre defining and he has continued to produce huge club records such as ‘Together’ and ‘Better Than A BMX’. Over the years Joshua has been remixing tracks from the likes of Kidda (‘Under the Sun’), Usher (‘Climax’), and Beyonce (‘Countdown’), to the Chemical Brothers, Orbital, Faithless, Basement Jaxx, Prodigy, Calvin Harris, Bloc Party and many more.
2012 finally saw the release of the first Hervé album: ‘Pick Me Up, Sort Me Out, Calm Me Down.’ While it’s uproarious 13 tracks saw sing-a-long dancefloor moments next to fist-pumping beats on tunes like ‘Better Than A BMX and ‘Show Me The Light’, stop dancing long enough to listen a little deeper and there are some clues as to what was to follow. Tracks like ‘Gloomin’ and ‘Bike Ride in June’, and particularly “the Mirror’ (featuring legendary Beta Band vocalist Steve Mason) hinted at yet another side to Hervé. He followed his muse and true to his amazing work ethic, soon released another album called ‘The Art Of Disappearing’ in 2013. This deep, superb, and sometimes dark, long player included guest appearances from Maria Minerva, Niki & The Dove, Austra and Seasfire.
Hervé has not lost his love of the club however and 2014 will see him collaborate with Armand Van Helden and release a series of underground jacking club releases.
Away from his busy production output, Josh utilises his skill for spotting talent, running his own Cheap Thrills label; a label that has provided a launch pad for some of the biggest names in dance music today including Fake Blood and Jack Beats.
Ricky Eat Acid
A Dead Forest Index
A DEAD FOREST INDEX // In All That Drifts From Summit Down
"Landscapes both seen and felt, real and imagined, lie at the heart of In All That Drifts From Summit Down, the vast debut full-length release from nomadic duo A Dead Forest Index. Comprised of brothers Adam Sherry (vocals/guitar) and Sam Sherry (drums/piano), the group crafts ethereal and intensely intimate compositions that defy trends and labeling, instead shaping an aural experience as organic as it is unpredictable. Forsaking instrumental complexity in favor of richly dense vocals and an otherwise minimal palette, the band evokes heaviness with the atmosphere they create rather than through blunt force. Teaming-up with Sargent House on the heels of a recent European tour supporting label mate Chelsea Wolfe, A Dead Forest Index are poised to introduce their sound to a global audience in 2016.
A Dead Forest Index was initially the solo project of Adam Sherry, begun in 2008. By 2010, it had evolved into a collaboration, with Sam Sherry supplying percussive depth to his brother’s distinctively hymnal approach to vocals, itself characterized by cyclical harmonies and experiments with drone. Untethered by place (or, for that matter, era), they’ve spent the past few years developing their sound, touring extensively between 2012-2014, and issuing the EPs “Antique” and “Cast of Lines” in the process. The latter was released by Jehnny Beth of Savages’ Pop Noire label, a precursor to the collaborative Savages/A Dead Forest Index composition and performance titled “In What I’m Seeing; the Sun” for the Barbican’s Station to Station Festival in 2015.
Though basing themselves periodically in locales as far-flung as Melbourne and London, the oceanic grandeur of A Dead Forest Index’s songs suggests a spiritual mooring in their homeland of New Zealand. Their influences are rich and untapped: the poetic, archaic ‘deep song’ of Indian and Andalusian origin, Romanian lăutari troupe Taraf de Haidouks, and the allegorical symbolism found in William Blake have all been cited as antecedents. The group have themselves been compared to The Velvet Underground with Nico, Scott Walker, Swans with Jarboe, and Antony and the Johnsons, to name a few.
In All That Drifts From Summit Down, their debut album, is a testimony to the sublime divinity of nature and the cold reality of time’s passage. Unfolding over 13 tracks, the album imagines natural phenomena as poetic metaphor for the human condition, the lyrics evoking stone, cold air, unyielding emptiness and erosion, while the enveloping warmth of Adam Sherry’s layered, choral vocals makes for an intriguing contrast. “Cast of Lines” is a prime example of this, its rapturous “In all our currents / a fog upon the sea at night” mantra accompanied by little more than a strumming guitar. Sam Sherry’s steady rhythms propel some tracks, like “Tide Walks” and “No Paths”. “Ringing Sidereal”, on the other hand, unwinds more slowly, a dark cavern of a song with flickering sparks of percussion emerging only where necessary. Occasionally swells of noise take shape. On “In Greyness the Water”, a slow-building churn buffers the repeating “In… fall… colour” chorus that penetrates through the cacophony like spires through fog. Savages guitarist Gemma Thompson guests on two tracks, providing a wiry undercurrent to the brilliant post punk stomp of “Myth Retraced”, before fortifying the processional stride of “Sand Verse”. In All That Drifts From Summit Down is a potent, compelling statement, an exercise in restraint and severity whose icy hue only accentuates the warmth at its core.
A Dead Forest Index epitomize the possibilities of the modern age. Weaving threads of disparate influence from around the world into a captivating tapestry, the duo exemplify their own transience, producing mature, wholly inspired work unbound by time or place. " Written by Sonny Kay.
Shining Bird is an experimental pop band from the coastal town of Austinmer, NSW Australia.
Originally formed as a studio project in 2012, they released the 'Shade of the Sea' EP, followed by their debut album ‘Leisure Coast’ on Spunk Records in 2013. The album received widespread acclaim for its unique brand of layed-back Australian pop. On the back of strong reviews from publications such as Rolling Stone, Russh and the SMH, as well as earning Album of the Week on ABC’s Radio National, ‘Leisure Coast’ helped propel Shining Bird towards a new bunch of listeners.
Spunk launched the signing with a clip to first single ‘Distant Dreaming’ that was picked up by German channel Majestic Casual & has been viewed over 300k times online. The clip was also named Rage TV’s ‘Clip of the Week’.
Sydney’s FBi Radio listed ‘Distant Dreaming’ their third most played track of 2013.
After touring Australia extensively in their own right, Shining Bird have played alongside acts such as Kurt Vile, UMO, The Drones, Father John Misty, and appeared at numerous festivals including Secret Garden, Sydney Festival, Melbourne Music Week, Fairgrounds Festival, & Newtown Festival. The band’s live shows earned them a finalist nomination for ‘Best Live Act’ in FBi radio's SMAC Awards in 2014.
Throughout 2015 the band made regular trips to the Blue Mountains of NSW to write and record new material. Trekking to remote lookouts and watching Australian film fueled the creative process. After much anticipation by fans, they emerged with ‘Rivermouth’, "a track steeped in Australian bush and coastal imagery, that reflects a maturity of songwriting and production." The track is filled with layers of detail that offer a different journey on every listen.
Spunk released ‘Rivermouth’ as a single in September 2015. Since its release the single has been named best new music on Double J, and Vmusic, & achieved high rotation on radio stations FBi, and Double J. The filmclip, was named 'Clip of the week' on Rage TV & 'Rivermouth' was also awarded 'Song of the Year' at the FBi radio SMAC awards in 2016.
Shining Bird's sophomore album ‘Black Opal’ was released on October 7 through Spunk Records in Aus/NZ & Melodic in UK/Europe. Mixed by Russell Webster and Tim Whitten (The Go-Betweens, Hoodoo Gurus) it includes the SMAC award-winning ‘Rivermouth’, acclaimed single ‘Helluva Lot’, and a collaborative effort with didjeridoo player Charlie McMahon (Gondwanaland) to name a few. The album art was painted by Australian artist Luke Sciberras.
Since its release Black Opal has received glowing responses across the board. Including 4.5 stars from Rolling Stone & Xpress Mag, 4 stars from Brag & Beat Magazines, and a number of Best New Music listings. Rolling Stone called it "Almost Flawless" & The Music said "This is a band that deserves to happen".
The band have recently completed a national album tour which took them to remote central Australia and capital cities. After playing to significantly larger audiences this time round (including a number of sold out shows) the fellas were nominated for 'Best Live Act' at the National Live Music Awards, & won both 'Album of the Year' + 'Song of the Year' at the FBi Radio SMAC Awards 2016. Happy Music said "Shining Bird are one of the finest band’s in the country."
Shining Bird have just been announced for Panama Festival Tasmania in March 2017 alongside Kurt Vile, Julia Jacklin, Big Scary, D.D Dumbo.
It’s been a whirlwind three years for Dublin man Gavin Lynch better known as Matador. From initial beginnings as a sound engineer and DJ in his native Dublin, the dedicated producer has plotted a carefully devised route right to the forefront of techno in just three short years. The organic evolution of Matador’s productions has been clear for all to see, the cultivation of his instantly recognizable sound an intrinsic part of his journey from humble beginnings. Perc Trax and Cocoon were early stop-offs before Matador found his artistic home with Minus, the much respected stable of the legendary Richie Hawtin and the perfect outlet for an adventurous producer like himself, a label which has had a substantial impact on his flourishing career.
The initial break came on Hawtin’s Plus 8 thanks to a driving monster of a remix for Bryan Zentz’s D-Clash which announced Matador as one to watch in dance circles. Following that up with a debut EP on Minus was perfect opportunity for Matador and the success of his Kingswing release gave him the impetus to launch himself fully into the world of techno. With staunch support from Mr Hawtin himself, Matador became a regular fixture on the Minus lineups around the world. On the production front he followed his debut venture up with a succession of well received EP’s and releases on Minus including the likes of Lamana and Dikspring as well as the much lauded Spooks EP, five tracks which truly encapsulate the Matador sound. 2012 proved to be a productive year for the Dublin man with a constant stream of quality output helping cement his place as a rising star amongst the techno community.
During this time he also began to hone his live performance setup, incorporating midi controllers, samplers and effects to create a formidable live show perfectly tailored to his needs. His outgoing personality, combined with the vibrant nature of his music has helped him engender a unique party atmosphere at his live shows, something techno fans around the world can attest to.
Underneath the Enter banner, Gavin has been a regular resident performing extensively in Ibiza over the past three seasons and at Enter events all over the world from Brixton to Amsterdam and farther afield in Los Angeles and Miami. Performing at Enter has also given Matador the chance to perfect his live performance and his successes here were reflected by fact that he was anointed Best Live Performer Ibiza 2014 at this year’s DJ Awards, recognition of his dedicated efforts in a live setting.
The past two years have seen Matador continue his studio prowess with a string of releases including a remix for techno legends Dubfire and Oliver Huntemann and a new EP for Minus in Zoles which was a 5 track salvo for his label of choice. 2014 saw the producer indulge his love of remixing with a remix for Depeche Mode a particular highlight. 2014 also saw Matador’s Versions EP come to light, inspired by the many sounds that influenced him as a young DJ, the EP gave new life to a number seminal dance tracks including most interestingly The Chemical Brothers – It Began In Africa. Many of these tracks were included in his recent Essential Mix.
With renewed focus on the studio this year as well as a primed touring schedule its clear the Matador name will continue it’s inexorable rise. A new EP on Minus is imminent and an artist album for 2015 has been confirmed, something that will no doubt excite the growing fan base of the charismatic Irishman. His love for live performance will also be indulged with a new live show almost ready to be rolled out, something that will bring a smile to the face of the many Matador fans who have crossed paths with him over the last three years, connecting with him and joining him on what has been an incredible journey. It appears that the coming months will provide a plethora of seminal moments for one of techno’s most notable mavericks!