SINGLE AND FILM CLIP OF THE WEEK: “Brisbane, Transit Centre” by Andrew Tuttle

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Today we are proud to be bringing you a combined single and video of the week. The artist in question is a Brisbane underground legend whose pioneering sounds have helped establish him as one of the most respected artists in our country. I’m of course talking about Andrew Tuttle and we’re proud to be premiering his new single and video for a new piece titled “Brisbane, Transit Centre” which you can stream down below.

 

The single is a re-interpretation of a live staple of Andrew’s which was originally recorded a few years back for his first EP under his own name. The song was recorded and mixed whilst Andrew was doing a fortnight residency at EMS Elektronmusikstudion in Stockholm after a short European tour in April/May, in between working on a new album,  a follow up to his fantastic 2016 release “Fantasy League.” This single is the first of two standalone singles Andrew will be releasing over summer in the lead up to the album release in mid-2017.

There is a dedication to mood and atmosphere but where other artists may favour the drone Andrew slips into the sunshine of pop music and more traditional folk stylings in order to ground his noise experimentation’s. There are lots of Jim O’Rourkeism’s all over this new single and that totally rules because I’m a devout believer in the healing power of Jim O’Rourke. I can hear the nods to all the pioneers of this genre but for me it was the pop skills of this track that impressed me most. I automatically had millions of different vocal melody ideas leap out of my mind as I sunk deep into this strictly instrumental track. The song is a beautiful thing to witness and is a nice slice of cinematic bliss that will leave you wanting more.

The film clip for this song also does a wonderful job of selling the magic of this song – have a peek below:

 
For those that don’t know, here is a quick history lesson (courtesy of Andrew’s BIO) –  Andrew Tuttle, based in Brisbane, Australia; creates sounds that explore the relationship between instrumentation, structure and genre within electronics and acoustics. Tuttle, usually solo, although occasionally in semi-regular and ad-hoc collaboration, creates a synthesis of electronic/acoustic instrumentation and genre, and improvisation/composition performed on computer, banjo, synthesiser, acoustic guitar, etc etc.

Under his own name and previously from 2004-2013 under the moniker Anonymeye, Tuttle has released recordings on labels including A Guide To Saints (Room40), Heligator, Someone Good (Room40), Bedroom Suck, Feral Media, hellosQuare, Twice Removed, Duskdarter, sound&fury, Flaming Pines, and New Weird Australia. Under his own name, solo, and in collaboration, Tuttle has performed at festivals including St Jerome’s Laneway Festival (Brisbane, AU), Melbourne International Jazz Festival (Melbourne, AU), OtherFilm Festival (Brisbane, AU) and Sonic Masala (Brisbane, AU); and venues including Cafe OTO (London, UK), Gallery of Modern Art (Brisbane, AU), Institute of Modern Art (Brisbane, AU), Le Bourg (Lausanne, CH), 107 Projects (Sydney, AU), HeK (Basel, CH), Plunge (Milan, IT), Brisbane Powerhouse (Brisbane, AU), The Old Museum (Brisbane, AU) and Howler (Melbourne, AU). Tuttle has collaborated live and/or on record (or in other situations) with musicians and sound artists including Matmos, Lawrence English, Mike Cooper, Blank Realm, Cornel Wilczek (Qua), Heinz Riegler, Inner Light (Smoke Bellow), Seaworthy, Rauberhohle, Kris Keogh, Joel Stern, Feet Teeth, Pale Earth and Sasha Margolis (Automating). As well as the aforementioned, Tuttle has shared concert lineups with artists including Matmos, Julia Holter, Forest Swords, Hauschka, The Soft Pink Truth, Daniel Bachman, Gudrun Gut, OM, Deradoorian, Pimmon, Omar Souleyman, Heinz Riegler, Julian Day, Kris Keogh, Tralala Blip, Wixtes, Lumisokea, Monika Brooks, Marihiko Hara and Sparkspitter.

Prior to 2013, Tuttle primarily recorded and performed under the moniker Anonymeye. After three albums, two dozen other recorded appearances and over one hundred live performances in Australia, Europe, and New Zealand; the Anonymeye moniker was retired in early 2013. When not creating music, Tuttle is an active participant in the Australian independent music community, as a creative director, tour manager, freelance writer and arts administrator. Tuttle also has a strong love for cricket.

Useful Links:

Facebook – https://www.facebook.com/andrewtuttlemusic
Official Website – http://andrewtuttle.com.au

FILM CLIP OF THE WEEK: “Baby” by Angharad Drake

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The haunting video for Angharad Drake’s new single “Baby” just launched and we’re proud to nominate it as our film clip of the week – click play on the below link:

 

 

“Baby” tells the tale of a battered relationship and the paranoia that comes with it, yet the eerie video takes it to a new visual landscape. With a fly-on-the-wall perspective, the video shows us the climatic moment where everything goes awry. A tragedy filtered with breathtaking scenic shots, “Baby” is the picture perfect rendition of pure heartbreak.

Useful Links:

Download the song for free from JJJ Unearthed:

https://www.triplejunearthed.com/artist/angharad-drake

Do the right thing and support the artist – visit Angharad’s Bandcamp and buy her stuff:

https://angharaddrake.bandcamp.com/track/baby

Facebook – https://www.facebook.com/angharaddrake
Official Website – http://www.angharaddrake.com
Bandcamp – https://angharaddrake.bandcamp.com/

FILM CLIP OF THE WEEK: “PDFC” by post-dusk

 

post-dusk is Ruby Smith, Brisbane producer and multi-instrumentalist who earlier this year shared debut single ‘PDFC’ which enjoyed attention across national and community radio, local and international publications alike.

Smith now shares a video for the hazy, dreamy track which she wrote, performed, produced and mixed herself while halfway through an honours thesis in psychology.

Created in tandem with director Pernell Marsden and director of photography Samudranil Chatterjee, post-dusk has created a mysterious, awe-inspiring realm bathed in gold glitter and candle light.

‘PDFC’ is just the first taste of post-dusk’s debut EP which we will see released before the year is out.

I reviewed ‘PDFC’ earlier this year and this is what I had to say:

“The moment the chords open up on post-dusk’s new single “PDFC” you relax into the groove of this amazing little heartbreaker. It swoons and aches like a late afternoon connecting directly to that part of your eternal sigh for a better place. This song is pure perfection and beautifully ethereal, I just fall deep inside of it every time I hear it and it becomes a glorious explosion of escapism that is heightened ever so magically when the vocal melodies weave in and out like a cool breeze. It’s like being caught in a divine shiver and it just takes over your body and you get fucking elevated to some truly righteous places.

I love when pop music is moody and atmospheric as opposed to being sticky and obvious. That’s exactly what “PDFC” is, a moody masterpiece that connects due to its darkness as opposed to its sunshine. It takes an artist to be able to be this direct and deep. What “PDFC” illustrates is the importance of a solid and consistent groove in order to build the atmosphere and mood of a song. The simple drone gives “PDFC” the direction it needs to unfold with the array of keys and synths flowing over this track with a Twin Peaks spookiness allowing for the guitar lines to erupt enough Cocteau Twins via Sonic Youth orchestral tone to provide the ethereal frame. This is a pure dream pop masterpiece and the kind of song that belongs on a mixtape for someone you are secretly crushing on.

The vocal performance and lyrical direction of “PDFC” is a simple ode to the desperate pulse of loss and I know it’s a typical thing for me to search for in most music but I think it is a musing on the power and turmoil of death. It may be masked inside the rhythm of a break-up song but I think at the core of the song lyrically is an ode to the angst of loss and the claustrophobic fear of aging in a world that prefers to move quickly as opposed to being a slow cheetah. Regardless of the muse it is clear that post-dusk is yearning for escape from the crippling sting of routine and for an extreme new experience to help her feel comfort and satisfaction with the moment as opposed to the dense haze of being stuck in the fear drenched cycle of feeling powerless and unable to stop the motion of time. The real joy is the way it connects and relates with your own personal experiences and provides the ultimate pain relief from your own life dilemmas.

 

 

“PDFC” is a timeless piece of art carefully crafted and communicated to ensure that all of your emotions are beautifully serenaded to a place of extreme relaxation and dislocation. This song is a personal and very warm invitation into the world that post-dusk creates for you and although the song is awash with personal and very relatable experiences it is the stylistic swoon of the dream pop genre that allows you to engage with her landscape but to also instill your own imagination and to arrive at a place of pure escapism. This movement of music is very open and as a result it provides you the ability to become tangled in your own ache stained sighs for the one you love / loved with the only logical resolve to hit repeat on your stereo in order to sail deeper into the beautifully delicate yet emotionally raw sound of post-dusk’s music.

This song will not just become the most trusted pain reliever but also the early morning rush of a sunrise after spending an evening of discovery in the arms of someone you hope will learn to love you back.

There is a very famous lecture that Nick Cave gave about the importance of the love song that I’d like to quote in order to conclude this review. The following quotes are important to understanding what post-dusk communicates as an artist and what makes “PDFC” so important:

“Though the love song comes in many guises – songs of exultation and praise, songs of rage and of despair, erotic songs, songs of abandonment and loss – they all address God, for it is the haunted premises of longing that the true love song inhabits. It is a howl in the void, for Love and for comfort and it lives on the lips of the child crying for his mother. It is the song of the lover in need of her loved one, the raving of the lunatic supplicant petitioning his God. It is the cry of one chained to the earth, to the ordinary and to the mundane, craving flight; a flight into inspiration and imagination and divinity. The love song is the sound of our endeavours to become God-like, to rise up and above the earthbound and the mediocre”

“We each have a need to create and sorrow is a creative act. The love song is a sad song; it is the sound of sorrow itself. We all experience within us what the Portuguese call Suadade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul and it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love song is the light of God, deep down, blasting through our wounds.”

“The love song must be born into the realm of the irrational, absurd, the distracted, the melancholic, the obsessive, the insane for the love song is the noise of love itself and love is, of course, a form of madness. Whether it be the love of God, or romantic, erotic love – these are manifestations of our need to be torn away from the rational, to take leave of our senses, so to speak. Love songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the love songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine.”

This accurately describes what post-dusk has done with her music and with “PDFC” she takes a deeper plunge into the abyss of her hurt shaped experiences in order to clean her wounds and create an incredibly divine movement of music. The safety of pop music is not on the agenda here and whilst this song has hooks it is the overall atmosphere of loss and despair that lets it hang inside your heart and soul. You carry this music with you and it buries itself deep inside of you long after you’ve listened to it. A song like “PDFC” will haunt you and wrap itself around you like a warm blanket. Like all great pieces of art it is not an instant or easy communication to digest but this is not music designed purely for the beat of major label consumerism. This is music created by someone who has loved and who has been damaged by the madness of it but who also uses heavy optimism to communicate just how much joy she gets from the rush of rejection and connection.

On “PDFC” post-dusk proves that depth, intensity and atmosphere are more important to the successful communication of pop music than the emptiness of one hit wonder world domination. I feel privileged to be able to review this song because it provided me with so much personal comfort and I’ve only lived with it for seven days. I look forward to what long term listening will do and how “PDFC” will soundtrack the many more adventures I plan to take into the landscape of broken hearted disco dancing and new romancing. This is a flawless song from a true artist who has successfully entered the realm of being one of the few modern contributors to the timeless dialogue of beauty, honesty and truth.”

By: Dan Newton

Useful Links:

https://www.facebook.com/postdusk | www.soundcloud.com/post-dusk
www.instagram.com/postdusk | www.triplejunearthed.com/artist/post-dusk

VIDEO PREVIEW: OWEN RABBIT RELEASES VHS MUSIC VIDEO FOR NEW SINGLE ‘DENNY’S’

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Following on from the release of his abrasively pop-infused single ‘Denny’s’, Melbournite producer / multi-instrumentalist, Owen Rabbit, has just revealed the accompanying music video that features home movie footage shot on VHS of a 3-year-old Owen growing up in his hometown of Darlington, WA.

Owen explains the motivation behind the clip and its link to the song –

“Everything seems less complicated in hindsight. I had some pretty serious nostalgia looking through all the old 8mm cassette tapes. They were all dated from the early 90s. The footage had a primitive edge to it. I feel like Denny’s has some rough edges as well and they meshed well together. Especially the plane footage; my dad used to have a plane and he used to take me flying all the time. It was heaps of fun using the joystick.”
– Owen Rabbit

The new single has gained fast momentum since its initial release three weeks ago, with support from the likes of triple j, #2 on Hype Machine Now charts, Spotify’s NMF playlist, #4 position via AMRAP metro charts and a slew of worldwide blogs.

‘Denny’s’ carries a deep and personal message that Owen felt passionately about conveying; touching on mental health issues and how seeking professional help and music saved his life.

The second half of 2015 saw a vigorous touring schedule, including a recent national run with producer / vocalist, JOY. performing largely to capacity rooms. Live reviewers described his show as “Nothing short of weird and wonderful“ – Music Feeds and “Really insane vibes“ – Vulture Magazine.

Owen will now hit the studio to keep working towards his debut EP, which is scheduled for release in the first half of 2016.

‘Denny’s’ music video is now available to view via YouTube


Stay tuned for our review of the song xo

VIDEO PREVIEW: PEPA KNIGHT RELEASES ACCOMPANYING DIY VIDEO FOR ‘EVENTUALLY’

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Following on from the release of his dreamy ambient take on Tame Impala’s ‘Eventually’, Central Coast-based musician, Pepa Knight, has just unveiled the accompanying music video, which features outstanding visuals documenting his recent travels in Morocco.

The video was shot and compiled as a complete DIY effort; all taken on the enigmatic musicians iPhone. Pepa explains how the clip came together –

“I was working on the final touches of the cover when I was in Morocco for a month. I covered a lot of ground from Casablanca to the all-blue-town Chefchaouen, the Sahara Desert, Taghazout and everywhere in between.

There was a lot of time to think on these jeep rides and trains from place to place, and it became really therapeutic for me working on this song while these landscapes were rolling by.”
– Pepa Knight

The Jinja Safari songwriter / multi-instrumentalist released his first collection of songs titled ‘Hypnotized Vol.I’ in 2014 and received exceptional support via worldwide blogs, triple j and other tastemakers such as Rolling Stone.

Pepa’s cover of ‘Eventually’ precedes the forthcoming release of ‘Hypnotized Vol. II’ – the anticipated follow-up to his debut EP release. The record will be released in early 2016.

‘Eventually’ music video is now available to view on YouTube

Stay tuned for our review of the song xo