the lexicon

a writing portfolio by Alexandra Savvides

Posts Tagged ‘2008

Children of the Wave – Carapace

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This music has space in it, around it, beyond its borders. It’s about traces and remnants that are left behind from something that once lived, something that held quarters inside its walls. For want of a better word, it feels delicate, this Carapace.

Though the duo responsible for these sounds cut their teeth in bands as diverse as the folk-pop oriented Major Chord and noisier Front of Van, their resulting collaboration takes little from these origins except for a true love of meshing a variety of aural echoes together. The difficulty, then, is finding a suitable entry point to begin to describe the luscious flow this album has. ‘Something Good’ is perhaps the best place to start, though this realisation doesn’t come immediately, it takes several listens, indeed almost ten, to appreciate the gentle majesty of this track. It’s disjointed – thoroughly so – but recalls some glorious folk-pop moments of yesteryear complete with an extra beautiful, indescribable touch that manages to transcend any particular notions of the here and now.

There are field recordings, too, but Carapace is not swamped in them. Fragments of kora, violin, melodica and glockenspiel enter the proceedings – all performed and integrated with such grace that they end up floating over you like some sort of quaint dream, a fleeting memory that doesn’t return until the play button is pressed again. Fortunately the melodies never escape the billowing chambers, but grow ever more with each listen, slowly and gradually taking the place of the experience that its creators had when making this record. Intimate and quirky at the same time, the strains of ‘Happy Bats’ marry a gentle strum with a reverberating hum, layers upon layers of sound nestled within the walls of the song.

All too soon, the proceedings end with ‘Should There Be Violence?’, the epitome of the Children of the Wave experience. It feels as if there are at least three separate songs within this final opus, a sprawling experience that takes over thirteen minutes to fully unfold with a lengthy void between each movement, as it were. For all the languid moments though, Carapace seeps into the real world and exudes a vibrancy that’s simply astonishing to behold. The shell is no longer a cage to store these experiences but a fully fledged home; a place that can be returned to time and time again to explore the delights within.

Written by lexstatic

January 14, 2009 at 10:07 pm

Posted in Album Reviews

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Favourites of 2008

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Originally posted over at Cyclic Defrost

An apprehensive retrospective of the moments in songs from 2008 that made the hairs on the back of my neck do strange things and/or made me squeal with glee.

Probably my song of the year regardless of the Eurovision debacle

Sebastien Tellier – Roche (0:19, after the whirring plan motor fades out and the breezy, summer synth hits)

Ahh, Sebastien. Only you could make impersonating Jesus look so effortless.

Tellier’s Sexuality makes me think of Serge Gainsbourg on a particularly amorous night with a Moog. Love. It.

Mrs Jynx – My Friend T3 (0:43 when the percussion kicks in and makes the entire midsection soar with grandeur, and again at 2:41 as the throaty, somehow human sounding ‘ah ah’ comes in)
Morgan Geist – The Shore (0:45 as Jeremy Greenspan whisper-sings “It’s okay to let it out”, a thousand teenage hearts melt in unison)
M83 – You, Appearing (3:39 that last gasp of air before the onslaught of Loveless-esque beauty in ‘Kim & Jessie’)
Jim Noir – All Right (2:09)
Inch-Time – Snow Jewel (2:19. I remember listening to this on teaism.net months before the actual release, and struggled to tear myself away from the magnificent beauty of this particular moment. This entire compilation is a winner, but, this moment from Adelaide’s Stefan Panczak wins for its exquisite ability to tear my heartstrings apart.)
Cat Power – Ramblin’ Woman (1:25)
Benoit Pioulard – Golden Grin (0:33)
Daedelus – For Withered Friends (feat. Michael Johnson) (0:46)
Goldfrapp – Road to Somewhere (2:47)
Seekae – Void (2:14)

yeasayer_282
Yeasayer – Wait For the Summer (2:10)
Wiley – Wearing My Rolex (This was cemented as the most important crossover hit I can remember when I heard it in a suburban coffee shop, blasted over commercial radio. Bless.)
Friendly Fires – White Diamonds (2:57. The start of a serious love-affair with their harmonies and exquisite production.)
Air France – Collapsing At Your Doorstep (0:01)
Lawrence – Forever Anna (this is the song I write in my dreams and forget when I wake up)
Four Tet – Ringer (0:52)
Dosh – Don’t Wait For the Needle to Drop (1:35)
Raz Ohara and the Odd Orchestra – Kisses (Pantha du Prince remix) (0:01)
Apse – From The North
Beck – Chemtrails (the first Beck song I’ve truly ‘got’)
Leila – Mettle
Hot Chip – One Pure Thought (apart from the fact that no one believed me when I thought that the beat was identical to M83’s ‘Couleurs’…)
Ane Brun – Headphone Silence (Henrik Schwarz Remix – Dixon Edit – Ame Approved)

neonneon

Neon Neon – I Lust U (2:07. Apart from the press shots and media releases, I have no idea what this album has to do with DeLorean cars)
Lindstrom – Grand Ideas (Johan Agebjorn Remix)
Geiom – Boxes that Go Beep (this one seemed to be a MySpace stream/dubstepforum.com thing only, but was simply that gorgeous it can’t go without mention)
iTAL tEK – White Mark
Khoiba – In Every Second Dream
Antony and the Johnsons – Another World
Max Tundra – Will Get Fooled Again

A brilliant song from an otherwise disappointing/terrible album

Indeed.

The Streets – The Escapist

I got a lot of music for free this year. Doesn’t mean I love it any less…

Ghoul – M-O-O-N (0:56)
Faux Pas – Chasing Waterfalls/Renfield’s Dream

Tim also wins the Photoshop award of the year for this effort:
metheboyz

The silliest music-related story of the year

The Guardian blames AC/DC for economic downturn

Now for the albums that I couldn’t bear to play favourites with

Flying Lotus – Los Angeles (Such damn swagger, such exquisite style)
2562 – Aerial
Various Artists – Teaism
Various Artists – Tomorrow & Tomorrow & Tomorrow
Children of the Wave – Carapace
Portishead – Third
Max Richter – 24 Postcards in Full Colour
Peter Broderick – Home and Float
Fennesz – Black Sea
Johan Agebjorn – Mossebo
Various Artists – Steppas’ Delight
Martyn – Vancouver 12″ with 2562’s Puur Natuur Dub and Flying Lotus’ Cleanse mix of Natural Selection

Written by lexstatic

January 3, 2009 at 2:57 pm

Posted in Reviews

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Children of the Wave interview (Cyclic Defrost)

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The transcendental essence of Children of the Wave’s debut record Carapace does little to prepare you for the gloriously eccentric, wildly contrasting characters that are behind this recording.

Mark Rayner and Daniel Flynn are the duo responsible for the ethereal sounds emanating from Carapace’s aural space. A reductive definition would label a carapace a shell – a term that suggests tender regions hidden beneath this exoskeleton. At the same time it also presents the possibility of a void, or an absence left by something that once lived within its hardened borders.

There is a mystique of sorts that surrounds this word, a concept that defines the album more than any individual song, any particular ’sound’ that a critic might label this release with. There are a few clues, but not many, in the bands Rayner and Flynn are (or have been) involved in. Rayner’s rockier Front of Van and Flynn’s Sleeping Pilot and folk-pop Major Chord projects are relatively different to one another, making Children of the Wave all the more intriguing.

Usually the story goes something along the lines of band members meet, band members bond through common interests and influences, and finally, band members record debut album. Not so for Rayner and Flynn, a veritable odd couple from their own admission (yet as is usually the case, they share more in common than either of them could know).

Initiating our correspondence, Flynn forewarns me of his musical companion. “Mark is a compulsive liar and rather unstable mentally. All you have to do is listen to some of his Front of Van stuff and you’ll understand. Having said this, his music intrigued me and although I found it very abrasive I was oddly compelled. I took him on initially because I felt sorry for him – and I was intrigued by his sad music.”

It’s a curious way to start our acquaintance, but nothing short of captivating. “Oh and he’s not such a bad fellow to hang out with” he adds, as a small token of appreciation for his musical companion.

Rayner paints a prettier image of their humble beginnings. “Dan and I have known each other for years. I’d always enjoyed the soul of his music, a certain sweetness or sincerity. He was playing a folk, pop, country kind of thing with Sleeping Pilot whilst I was playing in a raucous experimental rock orientated project called Front of Van. We always spoke about having a jam together, yet it all seemed kind of ludicrous as our worlds were so different. Eventually, 3 or 4 years ago we did, we recorded it and Dan did some mixing and a few weeks later gave me this music that really surprised us.”

They are determined to highlight their differences and point out each other’s flaws, but such is the consistency of their record that none of these divides become apparent in their music. It’s the bridge between pop sensibility and ambient, abstract noise that is most compelling, and given the pair’s respective musical backgrounds, this successful combination shouldn’t be too surprising at all.

Determined to outline his motivations, Flynn again turns to amusing put-downs and witty one-liners. “Mark is a very sad person. I made a decision to change him. To do this I had to make him believe we were going to ‘blend’ our styles of music together. The truth is, you listen to the album and you notice it has many melodies – it is mellow and intimate. I WON. Yes, I converted Mark over to my side of the musical force.”

This character was becoming harder and harder to read. So now to Rayner – his musical epiphany was not grounded in unmelodic elements as much as Flynn might think. In fact, it began in dislocation. Moving to Traralgon, two hours outside of Melbourne, he found the combination of a lacklustre radio service and few acquaintances provided the impetus to pick up various instruments. “I’d go into my spare room and just do these experiments with sound, feedback, a bit of toy keyboard and bass guitar and whatever sound making device I could find and put it down to 4-track. I knew it wasn’t music but there were some musical elements.”

“I’d play it to my friends who played in bands and they wouldn’t get it. I had no idea there was this scene out there of experimental music, so it all seemed kind of worthless…I was too incompetent or lazy to learn to play music properly so I just dived into that and it’s just evolved through Front of Van, who got one of my 4-track experiment tapes, and now into Children of the Wave.”

The transformation from abstract noise to contemplative, otherworldly pop has much to do with the swathes of field recordings and ambient sounds that weave their way throughout the band’s debut. Nestled deep within their compositions rather than sitting triumphantly on top of melodies, these sounds were mostly sourced from Rayner’s month-long visit to Kakadu. “I had all these incredible recordings of bats, creeks, wild dogs, birds and the like. They seemed to fuse really well with Dan’s melodic sensibility, his guitar loops, glockenspiel, Casio etc. So we decided to continue on a very sporadic basis between our other bands, not really sure what we were doing, just enjoying the process.”

The recording sessions were (according to Flynn) initiated and driven by Rayner. Again, the dissident voice speaks: “I was merely staring at him wondering if this was going to be a complete waste of time.”

Fortunately, it wasn’t. “When Mark went home, however, I found myself fiddling with these weird sounds and thinking ‘well he’s not here now, I can do whatever the hell I want!’ So I began organising the sounds and mixing them (and adding to them) in a way that was kinda similar to how I produced my own ‘pop’ music. I think that’s the interesting thing about Children of the Wave – Mark comes up with these strange ideas and I help translate them into something altogether more listenable!”

There are many sensations throughout their compositions, a result of intensive overdubbing and layering to give a particularly visceral texture. Banging heaters, whirring fans and thwacked bins could all produce disastrous sounds in the wrong hands, but not with these two at the helm. As Rayner recalls: “One of the first tracks was ‘The Underwater Song’, as was ‘Happy Bats’. I would just arrive at his house bringing with me whatever stupid sound making device or musical obsession I was focussing on with Front of Van, lower the volume and intensity and without thinking just spit it out. Grabbing whatever’s at hand in some kind of sound making, musical frenzy.”

With their love of such a diverse set of instruments, from violin to kora and back through the harmonium, it would have been easy for their compositions to err on the side of cacophonous, a mash of sounds having a temper tantrum. The result is fortunately far from this, and Rayner credits his musical companion with subduing the ‘rubbish’ and filtering out the more melodic elements. “A lot of the time however Dan would just have this wry pained smile on his face like I was tormenting his dog but didn’t want to be so impolite as to tell me off.”

This sound, then, owes much to the vivacity of Animal Collective, and the tenacity of far too many folk-pop troubadours to name, but for all these reference points, the duo share very few influences. Differing opinions are raised again when Rayner points out he and his musical companion have little common ground, musically at least. “When I look through his CD collection I struggle, it’s full of boring folk dudes. The other day I gladly pulled out Nancy Sinatra and explained how amazing Lee Hazelwood was to him. Herbert, Squarepusher, Fela Kuti, Anthony Pateras, Qua, Merzbow; he’s got no idea who these people are.”

Neil Young appears to be the only point of reference that links these two together, at least within the aural space. But it seems to be the most serendipitous of influences on both of them – it’s there in the breezy “Something Good” that unfurls after a good two minutes into something as achingly pretty as one of Young’s finer moments like “Expecting to Fly”. Upon further contemplation, this curious segue in “Something Good” that turns an ambient excursion into a fully fledged folk-pop number is totally and utterly reflective of the two men who created it. Their stop-start notions and mid-sentence cutaways are ideal templates for this musical palette.

Like any music lover who desires to share their most intimate moments in song, Rayner feels that there are more introductions that need to be made, but he is quick to hold off these suggestions on further thought. “I was trying to tell him today about Fennesz and how amazing Endless Summer is, so I’ll bring it around next time. But I kind of don’t want to turn him on to this stuff because he’s approaching working with experimental techniques in such a sincere, melodic, earnest and idiosyncratic way that I don’t want it sullied by outside influences.” He readily admits that this wasn’t all a selfless gesture; “I’m learning so much about melody and mixing.”

Rayner also credits much of their distinctive sound to mastering engineer Byron Scullin, who has worked with All India Radio and Midnight Juggernauts. “He knows so much about technique, approach, plug-ins, computers…it makes your head spin. He’s also a sick bastard and we share a very similar (read: juvenile) sense of humour.”

“We both credit Byron with really elevating our music during the mastering process, strengthening the bottom end and both broadening and thickening the sound. We were very happy with the results. We really wanted someone who understood textures as well as more musical elements…he gave us credibility and made us sound more wide screen which I hope is now the Children of the Wave sound.”

There is still the niggling thought of the carapace, the tentative shell left behind at some place in time which is now permanent. A mark on the landscape. They both think the other was responsible for this word – this phrase – that seems to bring them both together. “As for Carapace, Dan says that I arrived one day muttering about it, you can actually hear me wailing it at one point on the album.” Rayner continues. “But I swear it was he who raised it with me. When we were thinking of a title for the album we returned to it because it seemed like the perfect metaphor for what an album is. These are the sounds, approaches, emotions, memories of a specific time in our lives. We have since moved on, working our next exoskeleton and left this CD behind – this carapace.”

Moving on is a recurrent theme for both of them. Flynn enacts a similar modus operandi when asked about this double meaning encapsulated in one word. “A carapace is essentially the evidence of life – frozen in almost exact form – but has now moved on. An album is a lot like that.”

“I like thinking about this concept when I think of Children of the Wave. Mark and I spent 3 years making this album and it was a side project for both of us. Children of the Wave quietly (and sometimes not so quietly) existed on the outskirts of our lives during that time.”

“When I listen to Children of the Wave now I have a strong sense that I was never in control of it – that it came about in its own way. I believe that about music. Some music is very controlled and other music evolves almost like it has an agenda of its own. I imagine that’s how the next project will emerge.”

Flynn interjects with another thought on his own approach to music. “I want to create a world for people while they listen to the music. I want to transmit a piece of my experience, via the speakers, to other people so they can perhaps create something new or think of a new idea or daydream about something or trip out…anything.”

Rayner jumps in here. “I view music as an expression of self. I’ve found it really difficult and challenging with Children of the Wave because it represents a side of my personality that I’m not altogether comfortable with offering up to people so easily. So releasing the album with its elements of vulnerability, melancholy and sincerity has been a little difficult. That said I was looking to move away from the noisier bombast of some of my other projects, so in a sense it was entirely the reason I wanted to work with Dan in the first place.”

“I think I was thinking more about process initially. I thought we could create some gentle atmospheric music that maintains experimental elements yet also melodic ones, without one completely eclipsing the other. I’d given no thought to the emotional investment, however in the process of creation and possibly more so now, I’ve realised it is unavoidable.”

The emotion within this remnant is paramount. Rayner admits he was confronted by the feelings stirred up and captured on the record for posterity. It’s not necessarily to do with the style of music they laid down, or the events surrounding the recording at the time. “It’s not necessarily catharsis – that was probably in my noisier projects. I think Tom Waits said ‘it’s not always about making a fist, sometimes it’s about opening your hand.’ Carapace is the opening of our hand.”

On Carapace, the shell is not so much the absence of something that once was, but something you take with you – this curious, joyous, playful journey that lives on wherever you take it – unless it takes you there first.

Carapace is released through Sensory Projects/Inertia.

Written by lexstatic

December 31, 2008 at 9:01 pm

Various Assets – Not For Sale (Red Bull Music Academy, Toronto 2007)

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Red Bull Music AcademyCompilation CDs are by their very nature a mixed bag. The days of collections like 100% Hits and So Fresh are (thankfully) behind me, yet even so their memory provides a lasting lesson in the construction of their track lists.

Regardless of their purpose or genre, the compilation is there to promote songs, artists and causes. The latest record from the Red Bull Music Academy certainly fulfils this criteria – each track was written, recorded and produced at 2007’s RBMA, held in Toronto.

With the worldwide proliferation of dubstep, it is no surprise that one of its lead purveyors, Benga, appears on the album. His 2008 release Diary of an Afro Warrior was widely touted as one of the more mainstream examples of dubstep emerging out of Britain. Yet his track on Not For Sale, produced with TRG and DJ Zinc is surprisingly heavy. Not entirely dubstep, not entirely grime, “Benga Woz Here” works on a reverberating bass line coupled with a thumping 2-step beat that seems deeper than the tracks on his solo release.

The lead track on the first CD is undoubtedly the highlight of the collection – Muhsinah & Jake One’s “You” is heavily infused with the flavour of soul and old school funk, with Muhsinah’s playful vocal lifting the song beyond its humble origins. The quirky culinary references in the song make more sense when accompanied by the liner notes. Muhsinah stepped away from the stove just long enough to pen the lyrics and the bass line for this one.

Most of the takes on this album lean toward the experimental, producing lively results, even if they don’t always work in a conventional sense. Over on the second CD, the risks are perhaps greater, with bigger payoffs – again, Muhsinah proves herself as a talent to watch with her collaboration with Marks on “In Need Of”, rapping to the underscore of brass samples and sharp kick drums.

Such a collaborative, intense environment inevitably creates results that would be difficult to produce otherwise. This collection undoubtedly reflects such an experience. An interesting take on the RBMA by Guido Farnell can be found over at Cyclic Defrost. For more information on RBMA, head to redbullmusicacademy.com.

Written by lexstatic

May 25, 2008 at 6:53 pm

romantic anarchy

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Seldom does an artist deliberately try to make things harder for themselves. But for romantic anarchy, Melbourne-based illustrator Karolina Partyka, this is an essential part of her creative process. Having trained initially in fashion design, it was a stint living and working in London which prompted Partyka to leave the world of fashion behind and take her drawing seriously.

“About half way through my time in London I began to play with the idea of illustration. I hadn’t really drawn anything in maybe two years…but when I found my way to a sketch pad and pencils, it just came so naturally, and I realised that this was it”, she says.

Working with traditional mediums such as pen and paper, Partyka’s illustrations are still centred on the female form despite her conscious shift away from the fashion industry.

“On a stylistic level, my [previous] work drew upon fashion imagery quite strongly; however, on a conceptual level my work tried to challenge the accepted discourse of standard fashion illustration”, she says. “My current work lies somewhere between illustration and art. I’m experimenting with subject, technique and media.”

Citing abstract expressionism, graffiti art and experimental music as current influences, Partyka’s work has an understated elegance to it from its elongated lines to its bold colours. Wild, unbridled female hair also seems to be a recurrent theme in her work, perhaps a throwback to the name romantic anarchy itself.

Partyka puts mismatched, seemingly incompatible elements together on the page and forces herself to make them work together in her illustrations. It is this challenge that she finds the most rewarding. “If I sit and ruminate and make myself completely insane for maybe a week, something will eventually come out of it”, she says.

“I always try to make things difficult for myself. It’s boring any other way.”

Alexandra Savvides
Mink Magazine

Written by lexstatic

May 6, 2008 at 12:32 pm

Posted in Feature Articles

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Sébastien Tellier – Sexuality

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Sebastien TellierFrench electro-wunderkind Sebastien Tellier clearly has one thing on his mind. From the near graphic album cover through to the track titles to his latest album Sexuality, no clues need to be given as to his muse. Having penned one of the most addictive, effortlessly beautiful tunes of recent memory with La Ritournelle, Tellier’s latest release takes the cues from that song’s lyrics (“So we make love in the grass under the moon”) to a new level.

Produced by Daft Punk’s Guy Manuel de Homem-Christo, Sexuality is filled to the brim with breezy, synth-laden tunes. There is no reprieve from the theme, and most certainly this ticks all the boxes of a concept album about sex. But being able to bypass the female moans that accompany Pomme, and the intriguingly-titled tracks like Fingers of Steel is essential in appreciating the sheer inventive song writing skill of Tellier.

Given the recent news that Tellier is France’s entry into the Eurovision Song Contest, time will only tell just how far he is going to take this theme onstage. Imagine Divine, the chosen song with its addictive near-Motown vocal line, being performed to an audience of millions with an army of provocative back-up dancers in tow. Something to break the monotony of kitsch-euro pop, that’s for sure.

2Threads

Written by lexstatic

April 17, 2008 at 8:40 pm

Posted in Album Reviews

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You Talkin’ to Me? Diary of an Olympic Cabbie

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Nostalgia for times past provides much inspiration for You Talkin’ to Me? Diary of an Olympic Cabbie, writes Alexandra Savvides.Jamie Oxenbould

Andy (Jamie Oxenbould) is a struggling writer looking for his big break. He is also somewhat obsessed with sport. On the cusp of the Sydney 2000 Olympics, Andy decides to enrol in taxi college to satiate his thirst for the Games. Based on Anthony Sharwood’s novel of his time spent as a cab driver during the Olympics and adapted for the stage by Mark Kilmurry, You Talkin’ to Me? is an enjoyable, if predictable, version of events.

Girlfriend Isabella (Catherine Moore) is progressing up the career ladder whilst Andy drives his cab around town. Necessary dramatic tension is built around her expectations and anxieties about Andy’s choice of job, but this is far from the core of the play. Instead, it is Oxenbould’s characterisation of Andy and over thirty other incidental characters that grace the backseat of his cab which becomes the main focal point of the production. Oxenbould’s ability to switch effortlessly from confused British tourists to drunken twenty-something girls is nothing short of amazing. He brings such vivacity (and stamina) to the role which results in a plethora of laughter on many occasions.

The characters which Oxenbould brings to life are incredibly well-observed, even if they do tend to lapse into stereotype. The slow-motion segments and music montages are amusing, but clichéd in retrospect; yet at the time they fit perfectly with the mood of the piece. It is easy to be cynical about this production but the performances by Oxenbould and Moore win you over with ease that all such thoughts are banished by the conclusion of the piece.

You Talkin’ to Me? works on the premise that the events of the Games are still in living memory for the audience. There are many cultural nuances and incidental details that date the production, but perhaps that is precisely the point. As Andy says somewhat predictably at the conclusion of the play, these were simpler times, and will always be looked upon favourably. This is a theatre experience to uplift rather than challenge, and a fond historical artefact of a time when a city went just a little bit crazy over being on the world stage.

Dates: 2 April – 22 May 2008
Location: Ensemble Theatre, Kirribilli
Price: $38 – $62
Bookings: (02) 9929 0644 or www.ensemble.com.au

Vibewire

Written by lexstatic

April 15, 2008 at 1:16 pm