Ground Patrol - Migrations (December 1, 2021 Art As Catharsis)

As the fourth release from drummer Alon Ilsar and guitarist Kyle Sanna, Migrations portrays a version of Ground Patrol nearing their apex. The record manifests the duo’s desire to perform swarming rhythms and stampeding beats, never standing still as they wander over great swathes of texture. Driven by pure improvisation, the record takes pays homage to Oren Ambarchi’s Hubris, Steve Reich, Surgeon and the Gnawa musicians of Morocco. The final product is sharp, clear and poignant – a journey within a journey as the intricacies of each shifting rhythm eloquently outline.

“Geophone was recorded in one day in a studio in New York, mostly unrestrained improvisations with minimal edits and no overdubs,” begins Ilsar.

“Similarly, Migrations was born at a recording session Kyle and I did together in March 2019 in Kyle’s home state of Oregon in the US. I was on my way to Atlanta from Sydney, while Kyle had a few days off from a West Coast tour. It was incredible to meet with him there and meet some of his old friends and see the Oregon landscape. We booked a beautiful studio, Gung-Ho, run by Billy Barnett. Incredible old gear - drums, mics, amps. A great sounding room for us to improvise in. And outside, deep white snow. It was one of the biggest snow storms the state had had in decades, and the power had been out in the studio for days before we got there. It all powered up just in time for us to play.”

Divided into three parts, each segment of Migrations captures its own distinct feeling. Part 1 captures Ground Patrol in a familiar form. Light guitar work, reverb and intensifying loops continue to build until the song buckles and collapses upon itself, only to start anew shortly after. Part 2 shifts from intensity toward melancholia. Almost orchestral in nature, the song falls gracefully as a feather, right before clean chords sweep it back into the sky once more. Part 3 simmers with intensity, the crisp plucks of Sanna’s guitar soaring over the surface of Ilsar’s thundering drums. The song cuts to silence after 25 minutes, yet the energy flowing through each part leaves a sense of lingering, as if no time had passed at all.

“We brought a simple concept to our improvisation of Migrations,” continues Ilsar. “On drums, I limited myself to two toms and a bass drum and restricted myself to playing in them in one order, each hit pushing ever so slowly against the one preceding it, speeding up until fading out and unveiling the starting tempo again at the end. On guitar, Kyle started with the low rumble of a single sampled guitar note, and slowly elevated and multiplied the pitch as more polyrhythmic loops emerged for us to play against. We kept it minimal, playing for 40min with several crescendos, knowing that our next task would be to improvise over this 40min journey right after the take. We only listened to the recording when we got back to New York a week or so later, and it sounded so good. A theme of migration emerged as we started shaping the improv to it.”

“From then it was Zoom meetings and sharing audio files to get the edit and mix just right. This is the result.”

The level of detail attached to Migrations is riddled in its form and flow, with its additional release content only adding to its transcendental nature. A slew of digital and interactive media supports the release, creating a feast for the senses. Rare footage from Ian Backer of natural imagery ties in perfectly to the music, while artist/programmer Jon McCormack informs the album’s artwork through generative evolutionary systems to create something natural but wholly digital, a paradox within tangibility yet between worlds. Finally, coinciding with the release, Ilsar has released a gestural iPhone app allowing motion trackers to discover loops within the music when a phone faces different directions. 

1. < Migration > 09:09

2. < Migration > 06:24

3. < Migration > 09:17

Kyle Sanna, guitar

Alon Ilsar, drums

Produced by Ground Patrol.

Recorded by Billy Barnett at Gung-Ho Studio, Eugene, OR, March 5, 2019.

Additional guitars recorded by Kyle Sanna at Summercamp Studios, Brooklyn, NY.

Mixed by Kyle Sanna at Summercamp Studios.

Mastered by Mat Leffler-Schulman at Mobtown Studios, Baltimore, MD.

All music by Ground Patrol.

Cover art by Jon McCormack.

PRE-ORDER

Joseph Rabjohns & Lachlan R. Dale - Eclipsing // Orbs (November 26, 2021 Art As Catharsis)

Art As Catharsis is proud to announce the release of Eclipsing // Orbs – a split, instrumental record featuring progressive Australian guitarists Joseph Rabjohns (Kodiak Empire) and Lachlan R. Dale (Hashshashin).

For both Lachlan R. Dale and Joseph Ranjohns, Eclipsing // Orbs is rooted in the attempt to process loss and death, and the long journey from grief to acceptance. Musically, each pushes the boundaries of guitar instrumentalism, drawing from a variety of styles to conjure a cinematic journey that seeks to communicate the inner experiences of each musician.

“This record deals with the loss of my grandparents,” begins Lachlan, “and my attempt to work towards a kind of inner peace or equanimity. It's about coming to peace with the terms of existence - suffering, death, impermanence - and still having gratitude for being alive.”

“For myself, the music I write, my experiences in life, and my exploration of philosophy and spirituality are always intertwined. These days my music comes from an impulse to try and express something that is difficult to put into words, like a shift in perspective. “

Lachlan R. Dale is perhaps best known for his work in Hashshashin - an energetic fusion of progressive rock, polyrhythmic metal, and Eastern traditions. On his debut solo release, Lachlan takes a somewhat different approach, drawing inspiration from Persian and Indian classical music, and sifting them through a filter of ambience, minimalism and drone.

Lachlan cites drone-metal titan Dylan Carson (of Earth), Pandit Nikhil Banerjee and neo-classical composer Dustin O’Halloran as having informed his style, while others might pick-up hints of Year Of No Light’s blackened post-metal, the deep ambience of Rafael Anton Irisarri, or the meditative sonic explorations of High Aura’d. The resulting songs flow with gentleness, yet still maintain a snarl of distortion – Lachlan’s interests in heavier music stirring in the undercurrent. One a select few tracks, Peter Hollo (raven, Tangents) features, with Cameron Macdonald (Hashshashin, Five Star Prison Cell) and Susie Bishop (ex-Hinterlandt) appearing on one track each.

In contrast to Lachlan’s side of the record, Joseph shares deftness in his fingerpicking while often slipping into cleaner, more compartmentalised moments. Returning with frequent collaborator Zac Sacrewski (Milton Man Gogh) on double bass and Kieran Stevenson on ambient vocals, these four songs share Joseph’s love for math, prog and jazz in the form of neo-classical/folk arrangements. Some may detect similarities to the likes of Ben Monder and Pat Metheny, but again, Joseph’s work is in a class of its own.

“Me and Lachlan befriended each other back in 2016 when my project Kodiak Empire linked up with his band Hashshashin in Sydney,” says Joseph about the project. “Since then I’ve started helping out with Art As Catharsis, and we found our individual sound as musicians compliment each other nicely and we shares a similar vision/outlook on art. We both placed a similar meaning on our individual contributions to the release, mine essentially relating to losing and being reacquainted with myself through dealing with death of loved ones, and through finding new people who have influenced my life in a positive way. In a sense this is returning to my spirituality. Navigating existentialism in a quest to understand what it is to be human in a world of chaos!”

Joseph’s side of the release was recorded and mixed by Cody McWaters with Jono Frowd assisting. Lachlan’s contribution was recorded and mixed by Tim Carr (We Lost The Sea, Mere Women, SEIMS) at One Flight Up. The record was mastered by Ron Pollard (Tangled Thoughts Of Leaving, Skullcave) at Studio Sleepwalker’s Dread.

Beyond this release, Joe and Lachlan intend on collaborating further. While COVID-19 restrictions hinder the chance of touring, the pair have shared intent on live performances in the future. Music wise, a collaborative album between the pair is also in the works – but for now, the warmth, space and texture of Eclipsing // Orbs will more than suffice.

Joseph Rabjohns & Lachlan R. Dale’s new record Eclipsing // Orbs is out 26 November on Art As Catharsis. 

1. Joseph Rabjohns - Invoke

2. Joseph Rabjohns - Shining

3. Joseph Rabjohns - Eclipsing (I)

4. Joseph Rabjohns - Eclipsing (II)

5. Joseph Rabjohns - Acceptance

6. Lachlan R. Dale - Warmth And Time

7. Lachlan R. Dale - Absorbed By The Earth

8. Lachlan R. Dale - Leaking Light

9. Lachlan R. Dale - A Soundless Stream

10. Lachlan R. Dale - Breaths Of A Summer's Day

Joseph Rabjohns - Eclipsing

For Julie & Robert Flynn, and Norman-George & Isabelle Rabjohns

Recorded by Cody McWaters at Hunting Ground Studios

‘Invoke’ recorded by Jono Frowd

Mixed by Cody McWaters at Hunting Ground

Mastered by Ron Pollard at Studio Sleepwalker’s Dread

Joseph Rabjohns: Guitar, ambient guitar effects/layers

Zac Sakrewski: Double bass

Kieran Stevenson: Vocals

Kat Hunter: Strings, Vocals

All strings arranged by Kat Hunter

Cody McWaters: Baritone guitar on track 5

Lachlan R. Dale - Orbs

For Hennie Smith and Allan Dale

Recorded by Tim Carr at Adversary Studios and One Flight Up

Mixed by Tim Carr at One Flight Up

Mastered by Ron Pollard at Studio Sleepwalker's Dread

Artwork by Sam Harwood

Lachlan Dale: Guitar, loops

Peter Hollo: Cello on track 2, 3

Cameron Macdonald: Bass on track 2, 4

Susie Bishop: Violin on track 3

PREORDER

Milton Man Gogh - The Great Reset (November 12, 2021 Art As Catharsis)

Art As Catharsis is proud to announce Milton Man Gogh's return in 2021 with their latest offering: 'The Great Reset'; a musical and graphic novella that takes MMG's brand of frenzied prog-jazz, slips a pink Mitsubishi or three into its pocket and turns on a strobe light.

Intended as a loose sequel to their sophomore release 'XXXX Bitter Irony', 'The Great Reset' continues the meta-narrative of their protagonist; coming to terms with his brutal murdering of a second-rate Australian jazz trio, the feelings of regret and grief and the desire to reset the game and play again. Illustrated by MMG resident artist Chloe McAlister, 'The Great Reset' takes Milton's extreme psychological imbalance and cuts it into easy to digest pieces!

Musically speaking, Milton Man Gogh find the delicate balance between the calm and the storm. Embracing their growth as songwriters on this release, the band continue to turn past extremes into normality, ranging from calm and languid to an overwhelmingly energetic barrage of texture and sound.

The release of ‘The Great Reset’ comes after a busy period for the band, receiving continual critical praise for their previous work which earned them a position as a finalist in the Queensland Music Awards, alongside an attempted European tour and a position in the finals of the 2020 Belgium International Jazz Competition.

“We figured that if we have trouble classifying what we do as a group, we’re probably over-thinking it quite a bit” the band explains.

“After a while, it became somewhat second-nature to always try to be uncompromising in our collective individuality; musically and conceptually. We are still, as always, taking risks and trying not to suck” 

With big plans in the new year, cut off your ear and keep the other one listening for Milton Man Gogh.

1. 3 Action Formula

2. Youth Is Wasted On The Young

3. See You Round The Traps

4. The Great Reset (Part 1)

5. The Great Reset (Part 2)

Milton Man Gogh is:

Andrew Saragossi - Tenor Saxophone/Clarinet, Composition (2)

Zac Sakrewski - Upright Bass/Electric Bass, Effects, Composition (4, 5,)

Benjamin Shannon - Drums, Composition (1, 3)

The Great Reset Was:

Recorded, Mixed and Mastered by Cody McWaters at Hunting Ground Studios, Moorooka, Brisbane, November 2020

PREORDER

Lack The Low - One Eye Closed (ART AS CATHARSIS April 19, 2018)

'One Eye Closed' is a catchy and challenging avant-pop record composed, performed, recorded and produced by musical virtuoso Kat Hunter through a three-year DIY process. 

With this first release, Hunter instantly proves herself as a talented composer/producer who isn’t afraid to push the envelope. Stylistically, her math-inspired experimental pop weaves between soaring Thom Yorke-esque vocals, complemented by dense instrumentation and triggered brass comparable to the likes of Joanna Newsom and late-era Bon Iver. 

Hiding under the fluttering harmonies, every listen bears something new to find – you could find yourself stunned by the towering highs and smooth lows of her vocal range; losing yourself in the orchestral piano compositions or even appreciative of the unusual drumming as you try to tap out the beats on your leg. 

Continuing on this trajectory, Lack The Low will almost certainly be on end-of-year avant-pop lists and is well within reach of creating a critical masterpiece in the near future. 

1. Do Your Worst

2. Progress

3. Futureheavy

4. Dream Every Night of Running

5. The Daylight Is All Inside

6. It Did, I Can't

7. Seven Different Species

8. God Knows Why

Releases April 19, 2018

All tracks written, produced, recorded and mixed by Kat Hunter

Mastering and additional vocal mixing by Becki Whitton

Kat Hunter: vocals, piano, organ, guitar, violin, cello, alto saxophone, banjo, electronics

Bobby Eggleston: drums

Catherine Keely: double bass (tracks 3, 4, 5, 7)

Bruno Siketa: trumpet, cornet (tracks 2, 6, 7, 8)

Daniel Parsons-Jones: additional trumpet (track 2)

Evgeny Chebykin: french horn (tracks 2, 6, 7)

Basil Rizopoulos: trombone (tracks 2, 6)

Tim Huddleston: tuba (tracks 2, 6)

Hashshashin - nihsahshsaH (adj​.​) ART AS CATHARSIS 2018

“(Hashshashin’s) music is powerful and muscular and ranges from full on psychedelic rock-outs to fully hypnotising drone. Often ragged and cathartic, this is, in its own way, soul music, music that taps into a primal, tribal, part of our consciousness that we, in our too comfortable Western civilisation, rarely draw from.” - Echoes And Dust

On their new live album 'nihsahshsaH (adj.)', Hashshashin pair their brand of of sun-baked, Middle Eastern psychedelia with improvisation by guitarist Simon Dawes of Instrumental (adj.), whose spacious and creative guitar playing calls to mind the compositions of Morricone, the nuance of Bill Frisell, and variety of Robert Fripp. 

The songs come from the group’s claimed 2016 debut ‘nihsahshsaH’, which draws on progressive rock and metal with melodic themes from the Middle East, field recordings captured in Tibetan regions of India and Nepal, and passages of trance-inducing drone. 

But here - and thanks to Dawes’ input - the transcendental atmosphere turns towards dystopia. Dawes advanced modal and melodic manipulations cast these once familiar songs in new light. The recording is further bolstered by the intensity and tightness of performance itself. 

This is another thoughtful record from Hashshashin, which will be of interest to fans of progressive and experimental music, from The Physics House Band to Secret Chiefs 3.

1. Prostration 03:39

2. The Ascetic 02:41

3. Ascension 04:53

4. Moksha 06:18

5. Levitation 09:13

6. Immolation 05:58

Evan McGregor: drums and percussion

Cameron MacDonald: bass

Lachlan Dale: bouzouki

Simon Dawes: guitar

www.facebook.com/hxshshxshxn/

Recorded live on 23 March 2017

This multi-track recording was made possible thanks to Ollie Bown, and with support from UNSW Interactive Media Lab.

Mixed and mastered by Tim Carr at Theta Labs

Artwork by Sam Harwood

COAST - COAST (ART AS CATHARSIS March 20, 2018)

Art As Catharsis are proud to release the energetic self-titled debut from COAST – riveting experimental jazz that fluctuates between heavy and silk-smooth, structured with the composition expertise of Paul Derricott. 

Delicate but rapid. Smooth but heavy. These characteristics usually stand as opposites, but Coast’s debut weaves these elements together in faultless form. High in energy and full of energetic instrumentals, you can hear hot flushes of heavy rhythmic jazz similar to Kneebody, Mark Guiliana Quartet and Donny McCaslin throughout the album, along with a gentle hint of early BadBadNotGood’s contemporary sheen. 

"This is fresh modern music that is beautiful, energising, inventive, creative…beautifully played, thoughtfully conceived, interesting, funky and lyrical all at the same time." 

- ARIA award winning jazz composer Sandy Evans

1. Blackline

2. Tide

3. Or Not

4. Dance 35

5. Obin

6. White Water

Releases March 20, 2018 

COAST is:

Paul Derricott

Shannon Stitt

Peter Koopman

Michael Avgenicos

Giorgio Rojas: congas (Dance 35)

Mixed and mastered Ian Pritchett

'Blackline' and 'White Water' Mixed by Richard Belkner

Recorded Richard Belkner Free Energy Devices

Artwork by Sam Harwood

All compositions by Paul Derricott

Instrumental (adj.) - Reductio ad Absurdum (ART AS CATHARSIS March 13, 2018)

Instrumental (adj.)’s long awaited follow up to 2015’s A Series Of Disagreements doesn’t disappoint. 

On ‘Reductio ad Absurdum’, the trio have expanded their palette, pushing their progressive and conceptual approach to composition to new levels. 

This is utterly unique progressive music influenced by King Crimson, Animals As Leaders, Bill Frisell, and Mark Guliana.

Releases March 13, 2018 

Instrumental (adj.) are: Simon Dawes, Simon Grove and Chris Allison. 

All songs written by Simon Dawes, Simon Grove and Chris Allison. 

Reductio ad Absurdum was recorded by Simon Grove at Nerve Studios. 

Drums were recorded by Simon Grove at Adversary Studios Marrickville. 

Mixed & mastered by Simon Grove at Nerve Studios. 

Artwork by Sam Harwood (harwood@me.com) 

Instrumental (adj.) would like to collectively thank: 

Lachlan Dale & Art As Catharsis Records, Sam Harwood, Aaron at Adversary Studios, Michael Taverner, Joe Manton, Rahul Menon, all of our loved ones, families, friends & fellow bandmates, bands we have played with, everyone who has lent us gear (in particular Brian, David & Sally), all the venues we’ve played for providing adequate seating and everyone who has come to a gig, listened to our music or spread the word about us. 

Oh, and our good friend Chris Kearnes for the band name inspiration. Happy now, pal? 

Simon Grove uses Darkglass Electronics, Le Fay Basses, Line 6 & Dingwall Basses. 

Chris Allison uses Sonor Drums.

1. Yours

2. Reductio ad Absurdum

3. Panopticon

Hinterlandt - Sollbruchstelle (ART AS CATHARSIS 2018)

Hinterlandt return with ‘Sollbruchstelle’, a lean, 19-minute EP that takes listeners through beautiful harmonic progressions and shifting time signatures in the quartet’s heaviest, densest, and most polyrhythmic work to date. 

In comparison to the band’s previous album ‘Ode to Doubt’, ‘Sollbruchstelle’ is more direct and energetic, and marks a return to purely instrumental music. As always, the material was written by ensemble member, Jochen Gutsch, a German-born composer who combines an interest in unusual instrumentation, polyrhythmic structures and avant-garde practices with a sense of beauty and catchy melodies. 

Here, Hinterlandt makes use of acoustic guitar as a quasi-percussion instrument, cello to hold the bottom end together with its heavy double stops, and two violins in question-and-answer conversations, not unlike a pair of witty sisters who finish each other’s sentences. 

Angular, progressive semitone and tritone driven sections alternate with melodies that wouldn’t be out of place on experimental pop records. But then, this accessibility is offset by constantly shifting time signatures and harmonic progressions that keep listeners on their toes for the full 19 minutes of the EP. 

In stark contrast to the popular ‘ambient neoclassical’ genre - which often comes off as a simplified throwback to late romantic-era classical music, mixed with post-rock sensibilities and gratuitous reverb - Hinterlandt combine intimate chamber music with densely layered, eclectic compositions. The result sounds something like a marriage of Kronos Quartet, Steve Reich and Meshuggah. 

The term ‘Sollbruchstelle’ comes from German engineering, and describes a part of a machine or product that is designed to break under pressure. “What interests me about this concept is the fact that the part’s individual weakness is the greater machine’s strength,” explains Hinterlandt’s Jochen Gutsch. 

‘Sollbruchstellen’ are placed carefully and deliberately to bear the brunt in a critical situation, thereby sparing the overall system. “Their fragility saves the lives of other parts that are considered more valuable”, Jochen adds. “There’s a beauty in this contradiction that relates well to our music, and I can see countless analogies to social issues of our times.” 

With ‘Sollbruchstelle’, Jochen has applied more pressure to Hinterlandt's music that ever before. Despite the dense, immediate nature of the compositions, they almost, but never quite, collapse under their own weight. A masterful achievement.

1. Plan A

2. Plan B

3. Plan C

Monique Mezzatesta - Violin

Susie Bishop - Violin (Live: Jara Stinson)

Simeon Johnson - Cello

Jochen Gutsch - Guitar, Trumpet

Composed and recorded by Jochen Gutsch at the Hinterlab. Artwork by Simeon Johnson. Mastered by Tony Dupe at Abandoned Fireworks Factory. Released by Art as Catharsis in February 2018.

Gauche - Siesta Cinema (ART AS CATHARSIS 2018)

Art As Catharsis are proud to re-release Gauche’s second full length album, 'Siesta Cinema' - the culmination of this incredibly creative and original group. 

"Influences from Bjork, Portishead, Aphex Twin and Cinematic Orchestra are highly evident. The level of talent here is impressive, with an equal amount of the spotlight having been given to all involved. " 

Gauche were a Sydney-based experimental band that existed between 2001 and 2007. Art As Catharsis are re-releasing their back catalog as part of an effort to conserve important recordings in Australia’s experimental music history. 

The 5 members of Gauche hail from radically different musical backgrounds, from jazz, gypsy, classical, hip hop, circus and beyond, and the diversity and talent in Gauche has created a unique new sound in Australian music Gauche's latest album "Siesta Cinema" reinforces why they have been described as one of Sydney’s most original, brave and genre-defying bands.

1. Scene One: Siesta Cinema 03:31

2. Scene Two: The Trap 03:52

3. Scene Three: The Sweet Pursuit 06:05

4. Scene Four: Love's Purgatory 03:43

5. Scene Five: A Different Journey 03:31

6. Scene Six: Photograph 03:55

7. Scene Seven: Snowflake 03:30

8. Scene Eight: Sesame Street Party 03:48

9. Scene Nine: Nightcrawlers 04:25

10. Scene Ten: Hieroglyph Heart 06:18

11. Scene Eleven: Winter 04:44

Gauche - Paints Lane (ART AS CATHARSIS 2018)

Art As Catharsis are proud to re-release Gauche’s first full length album, 'Paints Lane'. A review from Shed 14 said at the time: 

"Named after the narrow laneway next to their warehouse, ‘Paints Lane’ is a captivating listen with influences from Bjork, Portishead, Aphex Twin and Cinematic Orchestra highly evident. The level of talent here is impressive, with an equal amount of the spotlight having been given to all involved. 

‘Paints Lane’ is heavy on the experimentation and not always pretty listening. Opening with ‘The Road’, Jane’s operatic vocals are met with heavy synths and dark shuffling beats, as she sings about ‘losing sight of the road’ chords fade and morph into a shuddering bass line which then weaves its way into the ceremonial sounds of an organ. ‘Honeymoon’ combines late night jazz and spaghetti western guitar riffs with loud crunching noise, frantic percussion and eerily droning basslines. 

‘Take My Hand’ is sexy, bold and brassy and oozes of 1920’s brothel charm. ‘Jemima’ and ‘Barbed Wire’ throw sacrificial metal outbursts into the pot when you least expect it. ‘Flying’, my favourite track on the album is reminiscent of 1990’s Melbourne outfit ‘Paradise Motel’ with its swirling combination of gentle beats, delicate chimes and beautiful voices that move gracefully between shadow and light." 

Gauche were a Sydney-based experimental band that existed between 2001 and 2007. Art As Catharsis are re-releasing their back catalog as part of an effort to conserve important recordings in Australia’s experimental music history. 

1. The Road 04:32

2. Honeymoon 04:51

3. Butter 04:48

4. Take My Hand 04:13

5. Jemima 03:18

6. Barbed Wire 03:08

7. Savoir Faire 04:20

8. Can't Get Back 04:50

9. Flying 03:25

10. CCTVB 06:56

11. Trapeze 03:05

12. Classrooms 06:11

13. When Clouds Collide 03:22

Originally released in 2004 by Inertia / Invada Records.

Gauche are:

Jane Sheldon - vocals, vocoder (6), Rhodes (13), drum programming (13), NN-TX (13).

Alon Ilsar - acoustic kit (all except 13), EAPP* (2, 8, 10-12), percussion** (1, 5, 11, 13), Hammond draw bars (1), drum programming (1, 3, 6, 7, 13), Maelstrom (1), NN-TX (9).

Julian Curwin - guitars (except 1, 10, 13), banjo (1), Korg MS2000 (1, 3, 7, 10, 11), violin (9, 12), cello (9, 12), drum programming (7).

John Maddox - double bass and effects (except 13), Korg MS20 (1, 10, 12, 13).

Luke Dubber - Rhodes (3, 7, 9, 13), Hammond (1, 2, 5), piano (2, 4, 11, 12), Korg MS2000 (3, 4, 6-10, 12), Roland RX30 (6, 8-10, 13).

Produced by Alon Ilsar, with Jane Sheldon and Julian Curwin. 

All sounds recorded at Buckland St, Chippendale (except strings at Moreton Ave, some keys at Young St, most piano at Reddam house) Dec 03 - Jul 04.

All tracks engineered by Sam Ferguson (except 4, 6, 11, 12 by Alon, 13 by Jane).

Mixed by Richard Belkner for Free Energy Devices in Chippendale Jul 04 - Sep 04.

Mastered by William Bowden in Stanmore 14/09/04.

Cover art by Angus Fisher in Annandale.

* Home-made Electro-Acoustic Percussive Pads (EAPP), created by Alon from junk percussion, piezo transducers (contact mics) and a no-input mixer. Those dear to him call it the Alonomophone.

** Egg shaker, maracas, rainstick, steel lamps, bubble wrap, clothes peg, plastic cup and belt buckles.

Gauche - Sigh (ART AS CATHARSIS 2018)

Art As Catharsis are proud to re-release Gauche’s debut EP ‘Sigh’, an ambitious piece of experimental pop drawing from Bjork, Portishead and Aphex Twin. 

Gauche were a Sydney-based experimental band that existed between 2001 and 2007. Art As Catharsis are re-releasing their back catalog as part of an effort to conserve important recordings in Australia’s experimental music history. 

On their 2003 demo, 'Sigh', we find Gauche colliding disparate musical elements together to create unique and beautiful forms - floating melodies laid over polyrhythmic beats; furious, live drum-and-bass in odd time signatures; looped and reversed tango and gypsy-style guitar lines weaving around soaring classical vocals. 

While Gauche's aesthetic developed considerably over their short career, there is something captivating with the intensity and audacity of 'Sigh'.

1. Sigh 04:31

2. Home Tomorrow 04:59

3. The Swindle 03:21

4. Butter 04:40

5. Against The Wall 06:38

All songs written and performed by Gauche

Recorded live (plus backing vocals and keyboard overdubs) and mixed at Zen Studios 11/12/02, except 'Sigh' and 'Home Tomorrow' mixed by Ben Oakley

All songs mastered by Ben Oakley

Artwork by Mark Bolotin