Freedom Time #2 - Floating Points

The latest instalment from Australian collective Freedom Time had its second innings on Sunday, and boy was it special.

The Coburg Cycling Velodrome played as the home for this open-air extravaganza, proving to be an incredibly unique and suitable space, and only a small walk from nearby Batman station. The venue proved to be stellar, with seating naturally occurring due to the velodrome itself, leaving space for punters to relax before heading back into the spacious, grassy dance floor.

Arriving just in time for Wax’o Paradiso proved to be a perfect time, as tracks such as People kept the crowd bumping along, amongst several other gems. J’Nett popped on stage at six, and with her enormous grin upon entry, we were sure the set was going to be nothing but special. She laid down some superb disco, funk and afro beats before the mystical Sam Shepherd AKA Floating Points arrived and took helm of the floor. 

Chatting to Shepherd a few minutes before his set, he was calm, shyly joking with a few friends and speaking incredibly timidly – it was almost hard to believe that the same guy was behind a pair of Technics belting out all of the lyrics and tapping away at the nuances of the songs moments later. His knowledge of tracks was incredible, and his grin was a delight for the crowd, with his excitement at times beyond ours. His playfulness with the three band isolator on the famed DJR 400 allowed for tracks to be manipulated in whichever way desired, keeping the crowd on their toes at all times. 

Despite a few technical difficulties, namely, the breeze causing the stylus to skip out of the groove at times, the crowd proved excited at every second, eager to hear what Shepherd had for everyone next. The Heartical Hi Powa soundsystem with its thumping bass and nuanced highs allowed the crowd to experience some of Shepherd’s incredibly rare and esoteric collection in prime conditions.

Shepherd ended his set at approximately ten, receiving a vast and extensive applause from the 1000 or so crowd. Punters then exited and boarded the free bus service back to the CBD, for a free after-party with impeccable local and international talent - a seriously generous addition to an already perfect day.

Freedom Time showed how all great events should be run – with great generosity and excellent logistical talent, all within a comfortable and well suited environment. I seriously look forward to the next instalment from the crew, and with Freedom Time #3 already in the works – we can’t wait.

A Few Rude Questions with: Furnsss

Furnsss is a fuzz pop band based in Burlington, Connecticut. The group consists of Brendan Dyer, Parker Nye, Jeremy Stern, & Nathan Nye - their latest EP, New Moves, was released last month on 80N7. We got in touch with Brendan and asked him a few questions about the new record, the tour, and a bunch of other stuff too.

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Rude Ritual: Firstly, we love the name… how was Furnsss born?

Brendan: Thx! Furnsss was actually created by myself (Brendan), Nathan, Parker, & Drew back in 2009. We've added / taken away / re added members since then, and haven't had a stable line up in quite sometime but we like to keep it eclectic that way. I think you could basically call me furnsss - It's essentially my child but it seems to have a lot of uncles. 

Rude Ritual: Are you or any of the other members working any other projects?

Brendan: Yup! Tom and i have a project together called Cool Dad. I have my own outlet called Nadnerb, and I also play bass in High Pop. Nathan has an electronic project called N8Nye.

Rude Ritual: You guys get such a unique coating of warmth and grittiness across the entire EP, what kind of recording and mixing techniques are used in order to gain that nice Furnsss-y tone?

Brendan: With New Moves, we made a conscious effort to work with a lot more analog equipment. on almost every song, the drums and select guitar parts are recorded with a 4 track tape recorder. on '#12 Looks Just Like You', we used a handheld tape recorder to record some of the vocals and organ part at the end! We mix that with some instrumentation recorded onto the computer digitally! I think we also used a reel to reel at one point or another to add some warmth to the instrumentation.

Rude Ritual: To us, this EP emits unprecedented levels of nostalgia. Was this the intended effect?

Brendan: Not at all, but i'm glad that it does. Nostalgia can be a very comforting feeling, and I love when i'm listening to something and get that sensation.

Rude Ritual: Some people call the lo-fi style of recording a fad/trend that will pass, what would you have to say to those people? 

Brendan: Hi ppl that think lofi music is a passing trend. I don't agree with you.

Rude Ritual: Will you vote for Yeezy in 2020?

Brendan: Sure.

Rude Ritual: How long was the entire process of New Moves?

Brendan: New Moves was written & recorded in february-april of 2015, with the exception of 'Manic Pixie Dream Girl'. MPDG was written in october of 2014, although re-recorded and reborn in march of 2015.

Rude Ritual: There’s a lot of great music coming out of Australia at the moment, whose talent is resonating the most over in The U.S.?

Brendan: I think Tame Impala may have put out one of our favorite albums of this year as a band. We really like Courtney Barnett too.

Rude Ritual: There’s also a lot of great music coming out of east coast America at the moment, who do you think is making an impact?

Brendan: We like Bread Pilot, Swings, Blue Smiley, Joy Again, & Sean Henry. those are our friends making great music. Some of our other favorites making an impact are LVL UP, Frankie Cosmos, Alex G, and Girlpool.

Rude Ritual: What upcoming record are you most excited to check out?

Brendan: I'm very excited for the new Deerhunter and Alex G album. The new Swings album is going to blow you all away.

Rude Ritual: We know you guys recently returned from a tour with Bread Pilot, any outrageous tour tales to share?

Brendan: Nothing too outrageous. I'd like to make it a point to say that we're very grateful to have been able to tour with such a talented group of kids, and get to travel to and play in some beautiful areas. It was a very surreal 12 days, and I'm very thankful I got to do it. People are very kind and supportive. There are great bands everywhere. North Carolina is beautiful. Nashville - stay wacky. God bless Ohio.

Rude Ritual: What was your favourite show on the tour?

Brendan: My favorite show on tour was in Cincinnati, Ohio at CincinNative. The people were very kind and supportive. We ended up crashing in a mansion that was being house sat - thank you Thom.

Rude Ritual: Lastly, have you started working on the next EP/LP? What can fans expect to hear on the next Furnsss record?

Brendan: I'm almost always demoing so it may be towards a new release or maybe it's not. I guess people should expect to hear us really giving it our best effort. I'm trying harder everyday to take this thing as seriously as possible. Thank you.

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And that's that! Furnsss' New Moves is available for purchase on their Bandcamp Page. You can also stream it on their soundcloud page below. 

REVIEW: Beach House - Depression Cherry

Beach House is a Baltimore based dream pop duo consisting of vocalist and organist Victoria Legrand and guitarist Alex Scally. Since their self-titled debut back in 2006, Beach House has become the go to band when referencing dream pop… a rank that is well deserved. The highly anticipated release of their latest record Depression Cherry sees the duo make subtle stylistic changes in terms of songwriting and production. This record is in essence a less washed out and less atmospheric rendition of previous releases. However, Depression Cherry offers a previously unheard elucidation of Legrand’s vocals, adding way more texture to the listening experience; it’s simply gorgeous.

Depression Cherry kicks off with Levitation, a progressive opener that reels you straight into a signature Beach House wall of sound. Simply reading the album title, looking at the artwork, listening to this ethereal opener (probably the most overused adjective when describing this band) makes you feel… funny. It’s hard to explain, but hearing Legrand’s almost-too-soothing vocals pan from ear to ear as she sings, “There’s a place I want to take you” really does take you to whatever place she is talking about. It’s nice, and it's definitely a cleverly placed song in the tracklist. Next up is Sparks, the lead single… the victory lap. This is the track that sounds most distant from prior Beach House efforts - Scally’s guitar screeches across the introduction, placed higher in the mix than that wide and hard-hitting organ, which sounds more like a bass synth on a dance track than anything else. However, it adds a stunning broadness to Sparks; it feels full… like it just ate a duck or some other animal that is realistic to eat entirely.

This record maintains the same level of emotion throughout its running time, it certainly evokes feelings of sentimentality that you can't escape until you reach the end. The track Space Song sounds like it came directly off Teen Dream or Bloom, particularly due to it's drum machine playing that same old rhythm from tons of other Beach House songs – but although this one is nothing new in terms of style and flair, the songwriting still instantly grabs you and leaves you hungry for the next song. It’s nothing new, but it’s something… and that 'something' is great. Among my favorites on Depression Cherry is Bluebird. Scally’s guitar tone on this one is insane. I never thought I would hear a Beach House song with an introduction like it – it almost sounds like the beginning of a hip-hop instrumental. Bluebird sees Legrand yet again stun the listener with her simply indefinable vocals; it’s one of the best female voices you can find these days.

Depression Cherry is one of those records you can lose track of time to, it’s modest… it knows its place. You can feel asleep when listening to this record... yet somehow you are aware of what's going on around you; all of Beach House's music has the ability to send you into momentary trance. On my first listen, I woke up after a sloppy Saturday night, put my headphones on, and spent the afternoon with it. I can't think of a better way to spend a Sunday than with Beach House. The production on this record is by far the best in their discography; it’s sharper and more inviting. Legrand’s vocals are the definite standout feature throughout – we hear her in a more intimate setting, allowing the instrumentation to flow into each ear as an accessory to her raspy yet soft tone. Listening to a Beach House record is always a comforting experience. 

Words by Harry.

REVIEW: FKA twigs - M3LL155X EP

FKA twigs, British singer, songwriter, and producer, entered the scene in late 2013, with her full length debut “LP1” blowing up. Tahliah Debrett Barnett’s debut featured intense vocals and pounding drums, alongside with an incredibly well polished production. LP1 was a nice addition to the musical world, receiving rave reviews from a broad array of press outlets. However, one thing never really clicked with Barnett for me, it was all too much. The strain in her vocals was seemingly over-emphasized and by the end of the album I felt very tight and tense, but perhaps this is her point? To induce a feeling of discomfort?

It seems this theme is a constant for Barnett, especially on her latest release, M3LL155X. The 18 minute EP features far more distorted vocal samples, and with a Transformer-like synthesiser variations going throughout the opener “Figure 8,”  it is all very tense and strained. The opening synth sounds like a terrifying alarm you’d rather not wake up to – as you’d probably shit yourself. Similarly, Barnett’s vocals and the pounding kick and whistling, circling synth all add up to create an absolutely huge opener. Track two, “I’m Your Doll,” is equally as tense, with the ominous drums and highly modified vocal samples opening the track. However, about 45 seconds into the song, her vocals truly open up, and we are introduced to the repeating motif of “I’m your daghhlll.” The accompanied film clip for this track features Barnett in a plastic form, namely, as a doll. Clever, hey.

The tense vocals continue throughout the chorus, and popping snares accompanied with dark, twisted and ominous synthesisers add to the incredibly tense track. However, the repetitive vocals do lose their expressiveness after perhaps the seventh time, let alone the seemingly 500^th time. Essentially – the constant “I’m your duaaaaollllllllll” just becomes annoying.

“In Time” follows suit to its tracks prior – intense, strained vocals accompanied with huge kicks and even trap inspired beats littered throughout. This is hardly music you put on before bed. This is music you put on when walking through a retrospective exhibition of some artist at some underground gallery in Berlin that you totally wouldn’t have heard of before… it’s so contemporary and overworked that it honestly sounds like it’s from Mars.

“Glass and Patron” features incredibly intimate vocals; with Barnett’s whisper discussing being “fucked” and demanding one to “hold that pose for me.” The vast array of elements in this track re-emphasise the drama going on in this track. There are just so many elements, and they all work very well together – surprisingly. Given the amount of instruments featuring on even one song, this album could have very easily become an overworked, oversaturated mess.

The album maintains its raw intensity from start to end, with every minute building and building to create this immense work. The force behind this EP, however, becomes quite overwhelming - it is simply too intense, and it loses its practicality because of this. Walking to the metro with this album on would seem like you’re walking in the year 2115 with the latest release from MC Ride’s distant relatives. Not that that’s a bad thing, though… It’s a new and refreshing. Her overly strained vocals that sounded like she was recording in the middle of a constipated shit that featured in LP1 are now exchanged for a confident, relatively unstrained and talented singer. If the hype surrounding LP1 wasn’t enough - M3LL155X will surpass it, even at third of its length. 

Words by Matt.

REVIEW: Thee Oh Sees - Mutilator Defeated At Last

The increasingly popular stylishness of fuzzed-out psychedelic rock is something I am completely okay with. The Oh Sees, along with other bands like King Gizzard and the Lizard Wizard, have a serious knack for recording convoluted but catchy guitar music, and I'm honestly surprised with the popularity of these bands; I sometimes ask myself why people are attracted to this genre. Is it the overall weirdness? The creepily catchy nature of adult males singing in falsetto over screeching guitars? The drilling nature of repetitive riffs and licks?


Answer: it's all of the above. As human beings, we like this music because it's so unnatural. Psychedelic music allows us to hear things that are otherworldly and foreign. That is why we feel detached and a little bit uneasy when listening to this kind of music; it teleports you into an auditory limbo. Some people can listen to it all day, whereas I can only handle bursts of it. However, I've built up a tolerance in the past few months. Prior to attending Gizzfest in Melbourne, I was listening to progressive and psychedelic rock a whole lot more than usual, and I certainly do not regret it. I've gained more appreciation for the skill and endurance of these musicians - playing a set of this stuff by no means looks easy. My rekindled love for all things psychedelic made the announcement of a new Oh Sees record very welcome.

Mutilator Defeated At Last (let's just call it MDAT) is the 14th studio album from San Fran psychedelic/garage/progressive rock group Thee Oh Sees. I'll be honest by saying that I'm not an expert on all things John Dwyer, I was actually only introduced to this band about a year ago by a friend. The track Toe Cutter - Thumb Buster was the first Oh Sees tune I'd had a proper listen to. Ever since then, they've sort of... just... been a band I knew of and thought were pretty cool - nothing serious in terms of fanatic following. However, this new record gave Thee Oh Sees a spot in my top 25 most played on my iTunes library. Heres why.


MDAT is their most well produced record to date; the low fidelity grit of earlier productions hid imperfections in the instrumentation and songwriting with... well, imperfections in production. This time around, everything is much more audible whilst still maintaining an acceptable level of Oh Sees fuzziness. There are some seriously memorable riffs that manage to tattoo themselves onto the walls of your brain; tracks like Turned Out Light and Withered Hand are prime examples of this aforementioned drilling nature of Dwyer's guitar work.



While the songwriting isn't perfect, gnarly audio effects can suck you into the vacuum of sonic chaos that is MDAT. The introduction to the track Withered Hand has some cool effects that set a great tone to the rest of the track... a whistling white noise that seems to adjust to the pitch of the bass guitar and a constantly panning, broken phone sounding synthesizer that creeps around the ether. Maybe calling this record a vacuum of sonic chaos is a little bit far fetched, however listening to tracks like Lupine Ossuary (which is definitely the most Oh Sees-y sounding track on the record) can make it feel that way at times.



There are certainly moments in which the continuity of this record is broken however. The track Holy Smoke, a 3 minute long instrumental, doesn't really add much thematic value in my opinion. However, it's worth is proven in the instrumentation - it's a nice sounding track, but I just feel that it didn't really sit right in the tracklist. Immediately after comes Rogue Planet, one of the most hectic and punkish sounding tracks on this record - it restores the energy that MDAT was so successfully building. Perhaps Holy Smoke would sit more appropriately as a closer. 


This record, whilst not perfect, holds a placing in my favourite LPs of 2015 so far. Mutilator Defeated At Last is a heavy record dressed up in fuzz and clever stylistic choices. Although it's not an everyday listen, it's groove and overall jam-like qualities uphold the gritty garage feel of previous Oh Sees endeavours with a more polished and clean style of production.

Words by Harry.

REVIEW: Levon Vincent - Levon Vincent

One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four.

It’s one of the most well known collective of words in the world - utilized by countless professions and people. Musicians, DJ’s, drummers, producers and alike all rely upon it – which probably explains why Paris Hilton never made it as a DJ. The collective’s roots in music are deeply imbedded – and Levon Vincent’s self-titled LP solidifies this notion immensely.

Given Vincent’s previous works were wholly single releases, expectations for his first LP were massive. With ten-minute thumpers like Woman is The Devil to compete with, it was assumed the album would be a collective of techno tracks destined for the nearest MDMA fuelled sweaty room. However – after the first track of the album, namely, The Beginning, I was left with a rather bitter taste in my mouth. It wasn’t quite as large as his other singles – it was nowhere near as hip shaking, as moving, and as intense – it was clear he had changed gears and was utilizing the album medium to create a whole, rather than unrelated tracks as his singles were.

The first two tracks never really kick past second gear – while its not until the third track that we see shit begin to really happen. The first minute honestly sounds like a production line – everything crashing – everything thumping and everything happening in that constant one, two, three, four. It’s repetitive, but with the repetitiveness we see the individual layers shine through, we get to learn their role in the song and we get to get into their rhythm. The lengthiest track on the LP, at a relatively speaking small 11 minutes, Launch Ramp To Tha Sky, is a highlight. Its enchanting and spontaneous xylophone-like melody is a dramatic change from the industrial plant prior. And indeed, while the contrast is a big one, it’s pleasant to hear Vincent change things up a little bit, rather than sticking to one constant collective of instruments and industrial sound throughout the LP.

Black Arm W/Wolf, is a proper journey utilizing the aforementioned counting method insanely well. Layer upon layer are added and reduced to create a whole, and the bouncing synth is guaranteed to get your foot tapping at the bare minimum. Anti-Corporate Music, which has been played by artists as massive as Dixon during his live sets, is another thumper. The echoing, shaking crunch is a sound immensely complex that moves and shakes in a beautiful way. The body moves perfectly with the shudder, which probably explains why it’s being saturated by DJ’s.

While album closer “Women is an Angel” is most likely a nod to his enormous single, it closes the whole album perfectly. It encapsulates his style, his use of synths and kicks, alongside the occasional hi-hat. This album is one of the most enchanting and deep of the year, and with each listen more delicate layers open up, sounds you didn't hear the first time, or even the twentieth. Who knew so much could be packed within the seemingly simple one, two, three and four.

Words by Matt