EP Review: Suburban Dinosaur – Mountains

Suburban Dinosaur Mountains EP cover
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Suburban Dinosaur is the work of Gonçalo Trindade, a Portuguese guitarist living in Berlin. He deserves applause for his choice of his pseudonym, let alone his music. Suburban Dinosaur: isn’t that just the best name? Trindade is also prolific writer, with this latest EP, Mountains, being his third release so far this year.

Mountains features seven short, calming guitar tracks with light piano accompaniment. This is a slight deviation from some of Trindade’s usual output. His last release sits more within the realms of noise/drone, and I even found some earlier works jarring. But I prefer this ambient direction. Serene acoustic guitar never fails to nourish my soul, and this EP hits the spot just so. The songs feel relaxed, slightly sad and soothing.

These softly picked recordings are intimate enough to let you hear Trindade’s fingers as they slide along the strings. The sparse piano notes only add to the mood, sensitively used to enhance where needed.

Although the EP feels cohesive and boasts the same vibes throughout, there’s enough subtle differences to delineate between songs.  It’s not all entirely acoustic. Second track “Contritum Pecus” employs a delayed loop, almost like a heartbeat. “Heartstrings #1” stands out for its strumming, compared to the other tracks, which are fingerpicked. Whereas “Intertitle(s)” features only piano.

It’s a short EP, but beautiful all the same. Certainly a lovely 20 minutes of music worthy of adding to your collection.

Suburban Dinosaur links:

Bandcamp: https://suburbandinosaur.bandcamp.com/

Facebook: https://www.facebook.com/SuburbanDinosaur/

Live Review: Rhian Sheehan at Michael Fowler Centre, Wellington

Rhian Sheehan Wellington
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Rhian Sheehan

Michael Fowler Centre, Wellington

Friday 12 October 2018

To say I was excited about this gig would be an understatement. Rhian Sheehan’s album Stories From Elsewhere is one of my favourite records. It helped me zone in as I wrote countless essays throughout university. It sets a calm and playful tone as I teach toddlers every day. It helps me unwind late at night, and makes me happy to be alive on sunny weekends.

Not to mention his other works. As a composer, Sheehan is prolific. I guess you have to be, if that’s what you do for a living. From his early electronica albums, to ambient soundtracks, to vivacious planetarium scores, to brand new album, A Quiet Divide, Sheehan’s works have never failed to inspire.

Arriving at my seat in the Michael Fowler Centre only increased the excitement. First off, it’s a great venue, known for brilliant acoustics, and especially suited to a show like this. Secondly, I’d bought tickets as soon as they came available, so had front row seats. Looking upon the stage sparked my imagination: drums, synths, a row of guitars, a grand piano, timpani drums, percussion rigs and an area for the string section. Such an array of instruments told of infinite possibilities.

As well as being a musical concert, it was also billed as a visual spectacular. The first thing that stood out was a prismatic disco ball hung above the stage. Three sheer mesh screens were draped from the ceiling, making a triangle around disco ball. A range of lights and multiple projectors were at the ready, and the room was slowly filling with atmospheric stage fog. Sheehan has been working with local special effects company Weta on a few projects recently, and in turn they’ve helped him to develop a visual show worthy of his music for these performances.

At 8pm the string section took their places, soon followed by Rhian Sheehan and the rest of the musicians. I recognised a few faces: Sheehan’s wife, Raashi Malik (formally of Rhombus), Steve Bremner from the recent The Adults show at Meow, Jakob guitarist Jeff Boyle, Ed Zuccollo with his signature mini-moog. A veritable star-studded line-up.

Golden lights bathed the stage in misty warmth. Strategically placed projectors shone images onto the mesh screens. The music – ah, such brilliant music – plays. Houston, we’ve hit Nirvana!

Of course it all looks incredible. The imagery varies greatly from song to song – sometimes as basic as geometric shapes, lines, boxes, pyramids… but always interesting. Images of spectral figures dancing about, of bustling cities; scenes of serene nature and of man-made destruction. Vast landscapes befitting of epic soundrack compositions. Ethereal animations alternate with powerful time-lapse footage. My favourite was “Soma Dreams”, which was similar to the video clip, with a flying whale, dancing woman and splashes of vibrant colour towards the end.

Of course the music was everything you’d hope for. Many of these songs have soundtracked my life for the past few years, and hearing them played live is electrifying. I write about mostly instrumental music on this blog, but seldom venture to the ambient or neo-classical end of the spectrum, so seeing a string section in a setting like this is a rare treat. And all the more interesting, with the electronic elements marrying the classical elements. Glitches and samples sat alongside harmonious swells. We heard wildly different versions of piano – with the traditional grand piano, and then the digital counterparts like synth and moog adding their own unique timbres. I appreciated little touches that deviate from the recordings – like Zucollo adding improvised solos on the moog, or the intense bass swells from the pedal-boosted cello – that made songs sparkle more in this setting.

This is evocative music. Songs that sweep you off your feet, grab you by the hand and tug you along on an adventure. Songs that explore the emotions that lie deep within the human psyche. Songs of beauty and joy. Samples of children’s music boxes and trickling streams, and busy traffic interplay with the music, grounding it and adding depth. This is the sound of magic.

The show was split into two sets, with a 20 minute intermission between. The first showed more new material, with fresh unseen visuals. The second set included more old video clips. The selection of music was diverse, with a good mix of old and new, studio songs and soundtrack work, and a few electronic tracks to spice up the sets. All up the show lasted two hours.

Rhain Sheehan is not a performer. He’s a studio musician who creates soundtracks for a living. But somehow he managed to bringing his other-worldly music to life in an unforgettable way, creating a audio-visual spectacle that completely enveloped the Michael Fowler Centre last night. I went in with high expectations, and left completely in awe.

 

Joseph James

Album Review: The Sun Burns Bright – Through Dusk, Came The Light

sun burns bright through dust came the light
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Bear with me when I try to explain The Sun Burns Bright.

The Sun Burns Bright is a solo project from Chris Garr, of Birmingham, England. It is also a Coastlands side-project.

Wait… what?

Garr contacted Coastlands guitarist Jason Sissoyev when he was writing this album, just discussing music in general. The two became pen pals, trading recordings back and forth as they collaboratively wrote an album over the course of 6-8 months. Coastlands drummer Richard Keefer added his beats, and then other Coastlands guitarist Jordan Patrick created the album art.

So we have a trans-Atlantic collaborative solo side project. Got it?

Through Dusk, Came The Light is an exercise in serenity. Tranquil notes, picked with care and precision.

As one has come to expect from the genre, there are serene passages, later with added percussion, which crescendos later in the piece, only to return to the calm soon after. It’s post-rock by numbers, but that isn’t always a bad thing. We find comfort in the familiar, and the warm tones found within Through Dusk, Came The Light only add to that homely feeling.

It’s a beautifully recorded album written with deliberate, exact notes and gorgeous tones. Which is surprising when you consider how it was recorded. That is, on iPads.

Now I know that most serious musos use Mac computers. I’m not a serious musician, so I couldn’t tell you why. But as a teacher, I’ve got very strong opinions about iPads. They’re cameras that don’t capture an image as well as a cheap point and shoot, computers with less functionality than a laptop, and overall horrible devices that create addicts of children in the name of “education”.

I can’t ever see myself changing my mind on this argument. But I cannot argue with the results here. This record sounds great. You won’t ever find me advocating for the use of iPads, but if Garr can create an incredible album like this through the use of Garageband and an iPad then I’ll accept that they have their uses.

Garr proves more then adept on guitar and composition. He explores aural textures with dynamic awareness and subtle layering. And Keefer’s deft drumming perfectly complements the music, adding thunderous energy without overpowering. 

Through Dusk, Came The Light takes the listener on a journey. From the epic climax of album opener “The Glass Is Always Full”, to the sweet melody of “Never Departing Shadow”, past the grandiose “Sky, Wand and Waves” to the sweeping solos of “Home Is Not A Place, It’s A Person”, to the final glitch infused pads of “Silhouette In The Shade”, this is an album that continually moves forward and treads the path of beauty.

The Sun Burns Bright isn’t the most original. But nor is it a tired imitation. It’s a solid début that appears to have already earned Garr a decent following from what I see online.And those fans have a lot to look forward – Garr is already working on album no. three, before even releasing his second one!


The Sun Burns Bright links:

Youtube album link: https://youtu.be/JoDhgwX7CsU

Joseph James