|
|
| MAJOR
|  | 2000: Two brothers, Dan and Jarrod Murphy play around Sydney acoustically, crafting melodic songs blended with composed and original harmonies.
They recruit a band. Once the right line-up is solidified, the band gets good, songs and more songs flesh out, the spirit is infectious. A limited edition ep, Innerwestern, is released. Country tinged, it gets stellar reviews and sells out at live shows in a matter of weeks ...
Meanwhile Massive! Records in Japan gets a copy of the album - tentatively titled The Bliss Domestic - and demands that the band record two more songs (recorded by Michael Carpenter to supplement the ten done with Nigel and Paul) and get their arses over there to showcase the album. Major hit HMV stores and Hard Rock Cafes in Japan in May 2003 and sales of The Bliss Domestic chime into the thousands. They do radio, television and karaoke in a breakneck week ... |
|
|
| THE HOONG AND I
|  | The sound of The Hoong & I includes elements of funk, punk, hip-hop and rock. It is up front electronic music, not self-conscious about belonging to any specific genre.
Dave, (The Radikal) an indigenous Australian, published writer, with a voice that encompasses a wide range of stylistic differences, from rap to rock, soul and the blues.
H.J Kim, (The Hoong) has been producing music for the past 9 years, notably working on the Aria winning "Itch-e and Scratch-e and friends" by Itch-e & Scratch-e. A lover of funk, punk music coupled with his classical training in music, he brings the wide and bizarre stylistic influences to the group.
Abel el' toro, (The I ) has been synonymous with Sydney's party scene from day one. Utilizing his vast collection of samples and loops coupled with programming skill he brings together the sound of the Hoong & I. |
|
|
| TUNA DAY
|  | Tuna Day is a local composer and performer of what could be broadly termed
ambient music, but drawing on many other styles and genres producing a
unique sound that many have found to be both engaging and thoughtful.
He displays an epileptic fervour for experimentation and genre-hopping. This is perhaps a foregone conclusion considering the punning of his name. But while he employs a plethora of styles, Tuna Day orbits around a couple of main ones: one is raga-like beds of slowly shifting loops, textures, and rhythms (Mechanical Butterfly, Canonic Vibes); the other is solid, slow-burn dance/house/trip-hop/dub numbers nicely daubed with rhodes pianos and classic synths, that builds with the confident throb of car tyres down a highway (Drowning Perhaps, Bittersweet, Urban Haze, and Camp Fire Drawl – my favourite). It is these he should gravitate towards, because they seem to have the familiar pull of home. |
|
|
|
< FBi MP3 ARCHIVE
|
|
|
© 2003