Michael Beach and Adam Camilleri talk with Ruby Soho about their current tours. Listen to their bits here (no music) and the whole show here (skip to 31:20). PBS 107.6 is a public radio station based in Melbourne, Australia.
We are pleased to announce the….
AUGUST 30 – BALLARAT – Portico w/ Freya Hollick
SEPTEMBER 2 – SYDNEY – Hollywood Hotel
SEPTEMBER 6 – MELBOURNE – Old Bar w/ Lower Plenty, Matt Bailey
SEPTEMBER 8 – CASTLEMAINE – Bridge Hotel
SEPTEMBER 21 – HOBART – House Show w/ Transcription Of Organ Music
poster by tylerjamesford.com
What’s the most important aspect to putting on a live show?
Trying to strike a balance between focus and surrender, and to be constantly present as the music progresses – without looking back.
We are proud to announce that both Electric Jellyfish and Michael Beach solo have been invited to play SXSW next March. Electric Jellyfish will tour the US from coast to coast, playing WFMU’s Saturday night show in Austin, while Michael Beach will play the SXSW showcase as a one night only show. EJ tour dates to be announced soon! See the full SXSW lineup.
Spectacular Commodity’s limited edition cassette pressing of ‘Mountains + Valleys’ has officially SOLD OUT (see here for the few copies left in shops), but a limited run CD-R edition has been announced by Peru’s Tacu Tacu Records. Most of those copies will be sold in South America, but a few copies will make their way overseas. Contact the label for more information.
Here’s an in-depth review of the album from San Francisco’s Aquarius Records:
Latest from this SF by way of Australia (by way of SF again) singer/songwriter, and first with a newly formed band featuring members of Comets On Fire and the Castanets. The sound is all over the map, drifting from crunchy post punk, to woozy psychedelic drift, to countrified rust belt songsmithery, and several other stops in between.”
“Opener “Straight Spines” starts things off with a blast of low slung bass heavy post punk, definitely reminiscent of the Wipers, with a killer weird constantly shifting tempo, slowing down, then speeding right back up again, in a way the deftly makes that tempo shift an integral part of the song. Hooky and a little bit heavy, driving and catchy like crazy, and that tempo shift just kills us every time, so unexpected, but so cool.”
“Then there’s “There Is No Edge Of The World To Run To”, which sounds like some lost Uncle Tupelo outtake, Beach’s vocals rough and warmly ragged, over some simple twang and strum, darkly emotive and intense, and when the drums come in, the song becomes a cool sort of droney countrified slowcore. There’s also the drifty twangy shimmer of the title track, and the warm jangly balladic closer, “So Said The Bird”, which broods and soars, underpinned by whirring organs, the deep crooned vox wreathed in the dusty twang of the guitars, and a blurred reverby patina. Beach peppers the record with brief experimental interludes as well, which range from noisy psychedelic freakouts to woozy late night drones. Gorgeous stuff for sure.”