newweirdaustralia on 03/25/2013 at 09:00AM
No Love Lost (WW15) is the debut release from electronic producer Sarah Phelan, under the name Drill Folly. Sarah has been making music for a number of years as a founding member of Melbourne's Tantrums, whose debut EP Anomie was released on New Weird Australia in 2010, featuring remixes from Collarbones & Worng. As part of Tantrums, Sarah has played live supporting Unkle, Mount Kimbie, Caribou, Four Tet, PVT, Xiu Xiu, My Disco, Jason Forrest and more.
This debut release is designed to be listened to on your own, in headphones. Sarah notes: "This is about expressing human emotion through machines. This is about therapy ... immersion ... escape ... about words being insufficient ... about trying to remember and remembering to forget. This is about not letting things sit on your hard drive until you die."
Beginning in early 2012, Adelaide’s Hollow Press has been using drone, glitches, field recordings, voices and industrial sounds to create his work. His first two albums, Fleeting Joy and Between Us were released digitally and on CD by US label Drug Arts. A remix album of his work was released in early 2013 with reworks from The Atlas Room, Shisd, Delphine Coma, Amanda Schoepflin and more.
The third Hollow Press album in the span of a year, Heads in Dust (WW16) is a collection of blissful and at times unsettling songs - an abstract soundtrack to someone’s innermost, darkest thoughts, as it drifts seamlessly though sonic atmospheres. Clearly Hollow Press loves the darker shades of experimentalism, exploring ambience, mingling sounds, wave-like-synths, bells, and distorted voices, resulting in a captivating and significant Australian experimental album.
newweirdaustralia on 03/01/2013 at 08:44PM
Solace is the new EP from The Vainglories, the solo project of Melbourne artist Gillian Lever. Described as "lullabies for the nightmare-prone," Solace blends dark undercurrents with deceptively pretty melodies, shifting rhythms and synthetic textures.
Gillian has been writing as The Vainglories since 2003, creating scores for imaginary films. Whilst living in Melbourne she played in melodic pop band Tempted and electronica duo Sweet Violentine, and contributed music to theatre, live improvised comedy and (actual) short film. In 2007, she moved to Brighton in England and created a live performance set from The Vainglories' back catalogue of extraterrestrial lullabies, playing at celebrated Brighton venues such as Komedia and The Basement. Now based in Melbourne again, as The Vainglories she constantly struggles with the grammatical difficulties that arise from being a solo artist with a name more suited to a band. 'Solace' is her first release since 2010's 'Violets' and her debut release for Australian experimental netlabel, Wood & Wire.
TAGGED AS:australia, experimental, new weird australia, experimental electronica, australian underground, See More...
dvd on 08/17/2012 at 01:00PM
New Weird Australia continues its series of excellent compilations, now turning a critical ear towards Perth to showcase some of the best experimental music-making happening on Australia's Western shore. Dig in and enjoy!
Western Schism is the second in our ad-hoc series of geo-specific compilations, featuring eighteen bands and artists from Perth in Western Australia.
The distance from Perth to Sydney (coast to coast) is only marginally less than the land mass span between L.A. and New York. Think for a moment on all the East Coast / West Coast paradigms that exist in American culture, and you can transplant some of that ideology down to Australia. Whilst we don’t have competing hip hop crews as such (although there was a moment back in the day when drum’n'bass might have taken on that skirmish), each coast often exists in its own unique world, often oblivious to the actions of the other.
However, whilst L.A. artists might have opportunities to play to audiences in San Francisco, Las Vegas, San Diego or similar towns and cities along the coast, their Perth cousins have no such luck. Isolated from any other metropolis or cultural hub, the act of generating awareness, finding new fans or growing a career used to involve an expensive and lengthy hike to the West, to connect with the majority of Australia’s population. Of course, that’s old school thinking – the digital age affords artists the ability to transcend such barriers, and this compilation plays one small part in an ongoing, flag-waving awareness exercise for Perth’s experimental music community.
The schism herein is as much geographical as it is artistic. These artists are outliers in both the literal and creative sense of the word – they celebrate their physical relationship with the world by amplifying it artistically. Distance need not be a tyranny – as is shown in this collection, it may in fact give us just the space we need to run free and get wild. (Stuart Buchanan / New Weird Australia)
dvd on 07/17/2012 at 02:30PM
Wood & Wire is a new digital record label, promoting experimentation in Australian music across all genres. Born of New Weird Australia, but existing separately from it, Wood & Wire launched in June with four free releases:
- the debut release from young experimental electronic producer, Emily Grantham, titled ‘Chocolate Syrup‘
- a complete remake of the reviled Lou Reed & Metallica album ‘Lulu‘ from BOK Darklord (aka Buttress O’Kneel and Lucas Darklord)
- and the self-titled debut from Machine Death, featuring reknowned experimental artist Ben Byrne and Ivan Lisyak from The Paper Scissors.
Since then, they've already added two additional records:
-the self-titled debut release of the 19-year-old, Canberra-based producer Felix Idle aka SHISD
The crew at Wood & Wire will be adding two new releases every month, so be sure to keep an eye on their label portal in the coming months as they continue to wow us with more great experimental music from Australia.
newweirdaustralia on 04/17/2011 at 07:35AM
Last year, we shifted the focus of the New Weird Australia compilation series away from a free-for-all approach to something that would have a sharper curatorial focus. Something you could put handles around (so to speak). Something you could clearly identify as “a compilation about X or Y or Z”. “We Are After All Here”, volume eight in our compilation series, does have a theme and identity of sorts, but defining it becomes increasingly problematic. Let me explain:
Throughout 2009 and 2010, we were listening to a heap of bands and artists that were clearly starting to coalesce into some form of vague and abstract grouping. Either through sound, technique, image, a reverence for the past, or just a common, skewed take on a hauntalogical notion, there was a broad church emerging that would count these artists among their flock.
Fortunately, no one dared to define it. If you speak of the devil, he’s sure to appear, thus keeping quiet and refusing to conform to definition worked well for all concerned. Having no such definition, and thus having artists co-opted or excluded based solely on the whims of the individual listener, was the perfect scenario.
But, of course, someone had to define it, and in doing so, they killed it. Hipster Runoff dropped ‘chillwave’, The Wire started talking about ‘hypnogogic pop’. Then followed glo-fi, witch house, drag, screw gaze and so on and so on. (Our favourite remains ‘crunk shoegaze’ – meaningless, yet somehow quite endearing).
The list of artists lumped together under these various microgenres was often contradictory and bafflingly random – they were subsumed to the will of the writer, desperate to force round pegs into square holes. And once this grouping was anointed with such dubious definitions, the scrutiny began – spotlights were shone in all manner of places, and backlashes naturally came thereafter. The edifice soon crumbled.
We, on the other hand, are (after all) here – ‘down under’ – doing our own thing, far removed from such recklessness. We have our own obliquely connected and amoebic group of similar artists, remaining unaffected by trend, hype or weak stylistic interpretation. And it is to this group that we turn for this compilation. If, by virtue of their geography, they had birthed their projects in North America, they might well have all been raped and pillaged by now – raked over the blogeratti coals for their part in an ill-defined ‘scene’.
Although our upside-down location can often be a curse, in this case it’s a blessing – all these artists survived unscathed, their mission no more or less impossible, living another day to ‘fight the good fight’. And we shall leave this group unnamed, for all our sakes. Suffice to say, it’s another new, weird slice through the unsung underground of abnormal Australian music.
Sample tracks from the release: