Placed (and entrusted) into the pale hands of Black Cab the remix returned featured Edwina’s Acetone rif but was missing the natural rhythm section, had a vocal sound beamed down from a burning Soviet satellite and was dripping with unction. Not your common NDE fare maybe, but we like it. …well except for Dave. Seemingly driven by a whipping mechanism; you can dance to this. We carried out a test. The NDE approve of dancing, lyrics, Wigwams and igloos, etc. [Source]
On the cover of ‘Anastasis’, Dead Can Dance’s first album in 16 years: a field of sunflowers, ripened, and then blackened, by the sun, standing with sad, slightly crowned heads. Less dead than dormant, the heads and stems will one day be chopped, but then via the roots, will return. For ‘Anastasis’ is the Greek word for ‘resurrection’ and the seemingly dead will dance again. “I thought ‘Anastasis’ was a good title given our reunion,” explains Brendan Perry, who, with Lisa Gerrard, formed the band in Melbourne, Australia in 1981, releasing seven studio albums, and one live album, before going their own ways after 1996’s ‘Spiritchaser’. “’Anastasis’ also means ‘in between two stages’,” he adds. “Regeneration comes with the next season.” ‘Anastasis’ is perfectly apt given how the album is an astonishing regeneration of the legendary beauty, power and spellbinding nature of the duo’s unique sound and vision. Age hasn’t withered DCD, not the passing of the years; if anything, the album sounds bolder, stronger, more confident in its vision..
Front man Husky Gawenda and keyboard player Gideon Preiss are cousins who grew up together and discovered their love of music, together. Though the four band members have disparate tastes, their shared passion for classic sounds, rich harmonies, and artful songwriting points back to the artists they grew up on: Crosby Stills & Nash, Bob Dylan, the Doors, Neil Young, Leonard Cohen, the Beach Boys. Yet while Gideon took easily to the life of the performing musician, playing in myriad bands throughout his teenage years, Gawenda, who spent years writing songs alone in his bedroom, shied away from the spotlight. “I was actually terrified of performing,” he admits. “It took a lot of will power to start singing my own songs in front of anybody, but I was determined to do it, because I always had the dream of playing music as my way of life.” [Source]
Clogs are a mostly instrumental project led by Bryce Dessner and Padma Newsome. Clogs’ “classical” music is composed by a combination of improvisational practice sessions and performances and formal arrangement by Newsome, who arranges the core ideas with reference to diverse classical and folk influences. Taken from the album “Thom’s Night Out” (2001).
Mark Pritchard is an electronic music producer and DJ from Sydney, Australia. Born in Yeovil, United Kingdom, he has released music on the labels Warp Records, Hyperdub, Dedicated and Sonar Kollektiv amongst others. He has collaborated and released under numerous monikers since 1992 including Harmonic 313, Africa Hitech (with Steve Spacek), Global Communication (with Tom Middleton), Troubleman, Reload, Link, Harmonic 33 (with Dave Brinkworth), Pulusha (with Kirsty Hawkshaw, formerly of Opus III) and a recent collaboration with Om’mas Keith of Sa-Ra. Pritchard has produced a wide scope of genres with the acclaimed Global Communication album 76:14 of 1994 – which was included in The Guardian’s list of “1000 albums to hear before you die” – a foray into downtempo, ambient electronica, in contrast to the 2008 release as Harmonic 313′s When Machines Exceed Human Intelligence on Warp Records that features Detroit hip-hop influenced electronica.
“Hey Little Girl” is a single released by Australian band, Icehouse, the second single from the band’s 1982 album, Primitive Man. It was released in October, 1982, on Regular Records in 7″ Vinyl Single and 12″ Vinyl Single formats. UK and Europe releases by Chrysalis Records were also on 7″ and 12″ formats, but with different track listings. The single was then released in the US in 1983 on same formats. “Hey Little Girl” features Iva Davies using the Linn drum machine – the first for an Australian recording.
Howard’s take on Talk Talk’s ‘Life’s What You Make It’ is an amazing bass-heavy monster that fits in with the tone of the album perfectly. In addition to being an excellent track in its own right, it does what a good cover version should: it shows the original in a new light and stamps a degree of personal ownership on the song. [Source]
Even on the other side of the world, Nevermind’s impact was immediate. After the album’s release, says Vincent Vendetta, frontman for the Melbourne dance-rockers, “all my school friends and I started playing Nirvana songs in our bands.” He even witnessed Nirvanamania firsthand. “The one time they came to Australia, I passed a record store where Kurt was being interviewed with a big crowd watching. It was hugely powerful for a ten-year-old to see.”