NEWS n REVIEWS
Taking SOLACE with INCEPTION
Recovery Collective’s GENESIS EP Launch
Semi-naked white girls body painted in black swirls. Mesmerisingly dancing with futuristic Afro’d males in silver tight shorts and covered in contrasting white single-lined crop circles. Light & Dark as if amidst the streets of Amsterdam.
Multiple single-line A4 drawings of individuals with semi-self-deprecating internal-thoughts as short labels accompany each to reflect. Oversized fold-out fans describing the depth and confusion of the sordid affairs of relationships of marriage and beyond. Love & Fear, a lustful Paris romance.
Girls jumping on a trampoline covered in motivational quotes of chalk. Soothing melodic techno that binds this all together, bonding the smiles of a cutting-edge alternative culture that is the voice of a new generation in one of the world’s most thriving musical cities. A room that’s more awake when the “business-world” sleeps and the raunchy Berlin beats begin.
The launch for Recovery Collective’s latest EP, “Genesis”, on the last Tuesday in July could easily have been from the heart of any of Europe’s most forward-thinking artistic cities. Viewers of the live-stream could easily be mistaken for thinking they were getting a behind the scenes access to the most-exclusive of European summer parties.
Yet it was a humble warehouse just over the tracks in Brunswick where some of the World’s finest techno was being launched-Recovery Collective’s “Genesis” EP. With the collaboration of Sarah Masson’s art installation “Doing Lines” an intimate crowd of technoisseurs and interpretive art lovers were taken on a journey through melody, sound, space and movement.
A tasteful blending between illustration and music, the abstract chaos of the images around the walls of the warehouse, absorbing the reverb and adorning the soothing minimal tones and beautifully produced melodies.
The creative masterminds behind @recoverycollective, JYDN (Jiay Mills) and AMUZE (Ben MacLachlan), GENESIS is the unification of the two producers for their debut release on the Recovery Collective label.
Performing an hour-long set (bookended by Melbourne techno heavies Handsdown, Le’Bruh and Sly Faux) it was the featuring of Jydn’s “INCEPTION” and Amuze’s “SOLACE” that really encaptured the audience. Highlighted amongst a set that also featured Pan-Pot & Stephan Bodzin classic Sleepless and D-Nox & Beckers’ Serenade, neither Inception nor Solace felt out of place amidst tracks from German techno royalties greatest productions. The influence of Bodzin on AMUZE, particularly in Solace is evident; sexy-soothing techno that massages the mind. Produced in B Minor at 124 bpms, heavily driven by humming horns with intertwined synths, this is well-constructed chord progressions from a classically-trained musician.
Inception has more of the D-Nox & Beckers feel, 122 bpms with a combination of the eery-jungle-critter effects (similar to those used on Pablo Fierro’s “Queen Mary” or even on the aforementioned D-Nox & Beckers “Loveland” come to mind) mixed with the Interstellar frequencies of Victor Ruiz. Juxtaposing mother nature’s hidden creatures with that of non-threatening futuristic species approaching from light years away, all culminating in one wicked build up to the head-bumpin drop. An equally enjoyable journey from an artist with his finger on the pulse worldwide.
The roots of each track growing from the Victorian South-East that are destined for notoriety at some of Ibiza’s best parties as Recovery Collective again takes their showcase worldwide this coming European summer.
Just as they have brought the best niche from some of Europe’s most artistic cities to the heart of Melbourne, Recovery Collective is now about to return the favour to the Northern Hemisphere, which is going to be treated to these absolute techno gems JYDN and AMUZE have delivered us, with Solace & Inception.
Genesis is available on iTunes, Spotify, Beatport or simply by clicking here.
JYDN - Recovery Collective
AMUZE - Recovery Collective
News & Reviews
<- Here. Taking SOLACE with INCEPTION - Recovery Collective's GENESIS EP Launch
Little Bit further: How Sammy La Marca tore up The Penny Black
Keep Scrollin, scrollin, scrollin: How Binaural audio and immersive art will enhance our entertainment experiences.
More to come, stay tunes-ed
Here's a review for Handsdown's melodic techno release, "Vertigo"
Aussie Techno that gives you the right kind of Vertigo
Unleashed in October on the independent label Recovery Collective, Vertigo is Handsdown’s stamp on the melodic techno scene. If this is the Blueprint for what’s to come, fans of the 27-year old from South-East Melbourne are in for some real satearsfaction.
Fitting more adequately alongside his recent remix of Jozef Conor’s Mazyte than that of his earlier work of hard-techno banger sets at Earthcore and in the infamous “Tramp Jungle”, Vertigo is the latest statement on the melodic journey that is making Handsdown a worldwide force on the techno and festival scene.
Handsdown is becoming a genre of his own. Self-described as “Dark, Emo, Tekkas”, this earthy, soothing, melodious techno comes with enough grunt in the bass and dirty grind (clearly influenced by his early Melbourne club residencies) that have garnered much-warranted attention from the Ibiza and German party scene, of which he and sidekick Leighboy toured through July and August of 2016.
Vertigo’s first thirty seconds is a blend of light claps setting a nice light-hearted tone that eases us in to the seven-minute journey we are about to embark. We then get smashed with the snarl-inducing, head-nodding kick drum which brings the deep-funk into our ride.
At the one-minute mark we are cushioned with the deep, droning synth that is teased a few times before becoming the core of the track. The main hook is a brassy bass riff, a gentle trombone intertwining with a sliding trumpet synth, that which resembles a stretched out version of one playing a nicely tuned glass armonica grass harmonica.
Lyrics are not necessary for this track, as one’s mind is taken on a journey beyond the normal head-bopping. The flexibility of Vertigo is remarkable, as it would not be out of place if heard during a relaxing day spa massage, a heavy underground club peaking early in the am’s, or as is becoming more common, in the middle of the Australian outback on the Main Stages at credible bushdoofs such as Strawberry Fields, Rainbow Serpent Festival, Rabbit’s Eat Lettuce and Babylon.
Whether intentional or not, this track is becoming a staple as a closing track for sets at events of this magnitude, leaving audiences in a fun, happy (also conveniently non-violent, which keeps the organisers happy) state of mind as the lights come on and it’s time to end their evenings on the dancefloor.
Outside the festivals this song is just as powerful when experiencing as an individual or with friends when playing in the car or home.
Keeping a listeners attention for seven-minutes these days is a real hard-earned skill. Being able to take them on an emotional journey that ends by gently bringing one back to earth and feeling all warm and fuzzy, as if the universe has just given them a seven-minute heart-nurturing soul-massage, well now that’s Vertigo.
Here's my little cheeky review of Sammy La Marca's set supporting Shiba San at The Penny Black in December
Sammy La Marca debut techno set review at The Penny Black Dec 18 2016
Its common to see a DJ connect with the their crowd and lift the energy in the room to unfelt- and at times unfit-levels. It's rare when one leaps as far out of his comfort zone and delivers in the fashion Sammy La Marca did this evening supporting Shiba San on the Primitive People stage at Brunswick's The Penny Black.
La Marca would take the reigns from Luke Vecchio- who's own individual outburst of on-stage enthusiasm almost draws the limelight away from his perfectly synced deep-tech house. Then Vecchio's hips wiggle, and his high-energy head-thrusts towards the decks as the beat drops, re-connecting ones ears, keeping the room extra funkified in his groove.
Seamlessly picking up the energy where Vecchio delicately serves it up, La Marca's techno debut kicks things off right with the perpetual motion build-up of Mauro Picotto & Riccardo Ferri's 2013 "The Riff".
The uplift of the first real drop sets the euphoric yet dirty tone for what our ears are to experience for the next 90 minutes. And rippin into high-energy-dirty it did, with Paul Ritch's classic "Run, Baby, Run" planting thoughts of 'Where does he go from here?', surely starting with two absolute classics is an early peak, setting the remainder of the set to be an anti-climax. This is where La Marca's talent really begins to shine through.
For his weekly residencies to the inexperienced ears of the 'froffa' crowds who usually crave the cheap-drops and wall banging moments that are Cloud Nine and Wah-Wah, sets can often get monotonous. Yet tonight, with a more mature crowd of techno-connoisseurs, or 'technoisseurs", Sammy-Bomb shows his range into the pure genre that is techno. The thing about exploring ones comfort zone is that the more you leap out of that zone, the more cushions appear, and the greater that comfort gets. However there were no signs of discomfort what-so-ever as he naturally keeps us rockin with bomb after bomb.
ANNA's "Odd Concept", whilst still keeping in the La Marca flair of filter-fiddles and re-loops drifts nicely into what couldve been the wind-down to an already flawless set as "Hey Now" sends relaxed delight throughout the air, winding down a roaring day in the sun. Yet this was just merely a relaxed peak at the top of the roller coaster, wind in the hair taking in the surroundings, as our hearts and bodies prepare to explode with the next drop.
We often go to gigs to embrace the tunes and unite with friends and music lovers alike, whilst getting slightly hammered trying to connect with the artist on a personal level, and its a special gift when that can happen. La Marca's great mixture of hits plus some new sauce just keep funbumblin along, as we reach the next hair-through-the wind moment with "One Day", Wankelmut's remix of Asaf Avidan & The Mojos classicly acoustic "Reckoning Song".
The La Marca-Coaster then hits full speed as the dancefloor's raptulous roars of "Get F'd" in tune to Gessafelsteins "Control Movement" have the room absolutely buzzing. The increasing levels of bubbly-excitement from the groupies at the front left of the stage, to the statuesque features of two ketamized critters by a table to the right, you know this is a day The Penny Black walls and it's inhbitants wont be forgetting anytime soon.
A song that isnt The Riff but sounds an awful lot like it seems to be perfectly rounding out the set. Bon Appetit. Perfectly Gift wrapped. We hope you enjoyed your meal.
I'm wrong, thinking this was a sixty-minute set (it's actually ninety) the ear tickling continues.
Poignantly placed, in roars Groove Delight's "San Andreas", the hip-hoppy cruise early in the track just enough of a drip feed to get the wannabe gangstas by the bar back into the head-noddin and shoulder shruddin, and bringing the statues by the table back into the Penny Black universe. Then perhaps on cue La Marca's conglomerate (ie: posse) all seem to appear on stage as the " Got Drinks, Got Bottles in the VIP-P-P" lyrics drop and thats when the party becomes full-rockin and the appreciation around the room shared.
Rarely a flaw could be found in these 90 minutes, if anything the gentle come down of 'The Riff' to book-end the set could be the only thing left wanting. But it's unfair to pick faults in a performance that felt each track was hand picked and specifically placed for you. One Gift-wrapped Samflat-packed-pancake covered with strawberry jam and served full cream.
I commend Sam for really exploring his full potential as this is just the tip of the ice-berg, it felt like a maturing set tonight and an absolute career-changer, going from kids to adults, cheap drops to a real-thought melodic journey. Oh, Baby, Baby.
Poor Prosdo for having to follow that one.
PREDICTION: Immersive sound and vision will be prominent in our live entertainment experiences. (Trent's Word of the day: Immersive)
We go to a movie. We sit; inhale popcorn, loosely follow the storyline, tune out every now and then. Stare at phones, think about toilet breaks and let our brains get distracted even whilst we are 'into' the movie.
We go to a concert. We dance; we drink, we follow the flow of track selection, sing out of tune every now and then, get 'into' the songs we know. Send snapstories- more often to prove our status to show we are doing the 'it' thing – we then again lose focus from the performance by thinking about our next toilet break, drink, post or where our mates went.
Going to events are fun, but all-too-often in modern day society we get too lost in capturing a moment rather than enjoying it or fully-immersing ourselves in the experience.
Technologies that have been in development for decades are beginning to come to the attention of mainstream audiences through niche performances and state-of-the-art festivals.
Live Binaural audio, Holographic visuals and Immersive Dome experiences are putting 3D goggles to shame, making you want to send your clunky old 3D glasses (from 2014) and that 5.1 Surround sound system to the back corner of your shed in the same box as your walkman, VCR and Super Nintendo (okay, maybe there's still a place for that in the lounge room).
The immersive live performance gets you to really experience. No longer are you just at a show or event, but these technologies eliminate the distraction of the surroundings and connect with you deeper in your consciousness and thus with the performances.
Simon McBurney's one-man stage show 'The Encounter', Iboga Records' 3D Hologram (no glasses necessary) and Android Jones' Immersive Dome Experience are each examples of immersive entertainment I've been lucky enough to experience in just the past nine months.
The Encounter has been in the making since the 80's, was featured on Broadway and more recently at The Malthouse Theatre in Melbourne.
Based on the book ‘Amazon Beaming’ by Petro Popescu, the show’s re-telling of a National Geographic photographer (Loren McIntyre played by Richard Katz on the current tour) dropped deep into the Amazonian rainforest in the 1960's in search of a tribe described only as 'catpeople'.
Upon entering the theatre you can't help but notice that smack bang in the middle of the stage is a dummy head on a stick sitting about 6-foot high (known to the cast as ‘Fritz’). Utilising audio-visual illusions such as the McGurk effect, this is binaural audio at its finest. Microphones are placed around the dummy head, specifically in certain portions of the ears so as soon as you take your seat and put on your headphones you notice that is not just any ordinary surround sound experience.
Simon McBurney with dummyhead “Fritz” during The Encounter
From the commencement of the show when Katz runs screaming behind the dummy, you turn your head expecting to see him as it feels as if he is literally in the row behind you running from left to right. With the buzzes of mosquitoes in the depths of the rainforest, to the gentle whispers in 'your' ear that tingles through your spine, you're immediately engaged and the intimacy of the audio through the headphones makes this very hard to escape or get distracted through the performance.
Immersive Visual art will have you encaptured in similar ways. In 2016, Rainbow Serpent Festival in Victoria featured a live 3D Hologram on the main stage that did not require glasses (but for some in the audience was perhaps enhanced by the right amount of substances).
Like a moving painting coming out of the speakers this consisted of a screen behind the DJ and a mesh in front, with an image projected on the mesh which when combined with the LED screen created a mental 3D effect. This was best experienced from directly in front but still effective from up to about 75 degrees either side of center (from my experience). This was also featured at Boom Festival during the Iboga Records 20th Anniversary 8-hour celebration set, and then went around the world on the Iboga tour.
Going forward I expect this to be implemented into the every-day movie going experience, and further more into home cinema and blu-ray. No doubt will it be creatively implemented into live comedy performances, sporting events (to give a 'courtside' feel to those in the upper decks), Virtual Reality gaming (this is whole 'nutha story) and no doubt the porn industry (a reason to hope smellivision isn't coming anytime soon).
Also at Boom was the Immersive Dome Experience as created by artist Android Jones.
Whilst laying flat on the floor, facing up looking to the inner-roof of the dome, art would come to life and you would experience feelings of deeper consciousness and even interstellar travel as the projection on to the shape of the dome covers your full peripherals, again eliminating distraction and taking your mind deep into the experience.
I expect this to initially be more utilized into art galleries and live exhibitions, but will also no doubt make its way into gaming and even VR without the necessity of having on a clunky headset.
Whilst each fascinating experiences in their own special ways, there will still always be a place for the current and more traditional live experience.
I do not expect these to be implemented into the everyday live concert, for example, anytime soon- but for stage shows, movies and gaming where majority of the time we are not interacting with those either side of us, Immersive Sound and Vision is going to immaculately impact our im-person imperiences.