Website: thenewup.com
Genre:    ElectroRock

The New Up’s Tiny Mirrors came to life in three distinctly charmed spaces: a self-built studio in the group’s “band house” in San Francisco, an intimate Marin home surrounded by redwoods, and a secluded barn in a seaside Mendocino town. Equally the result of an exacting, metamorphic songwriting process, Tiny Mirrors reveals itself as a gorgeous paradox: a collection of songs that give a bracing glimpse at the state of the world but still feel fiercely intimate; an album that’s supremely life-affirming despite all its apocalyptic overtones.

Politically charged yet intensely introspective, raw in emotion yet cinematic in scope, Tiny Mirrors explores the notion of overcoming disconnection by “looking at our own reflection first and seeing more than just tiny, disjointed fragments,” according to Pitcher. With its buzzing synths and serpentine riffs, indelible melodies and sprawling arrangements, Tiny Mirrors also marks The New Up’s first collaboration with an outside producer: Jack Frost, a DJ and longtime musical cohort whom the band credits with encouraging their move into more electronically crafted terrain. Throughout the album, Pitcher’s sultry vocals cut through that richly layered sound to capture endless dimensions of feeling. On “Future Is Now,” the song’s hazy soundscape and graceful melody meet with an unnerving narrative about “people not being willing to stick with what they know is right when everyone else is trying to influence them otherwise,” as Reid explains. Stark yet shimmering, “Black Swan” gives a boldly detailed portrait of loneliness. And on “Almost Human,” with its snarling guitar tones and jagged beats, The New Up deliver a powerful meditation on the longing for connection. 

Forming soon after Reid and Pitcher serendipitously met in the parking lot of a music festival, The New Up have turned out three self-released EPs (Gold, Better Off, Broken Machine) and one full-length (Palace of Industrial Hope). When it came time to start working on Tiny Mirrors, the band decided to launch an Indiegogo campaign to obtain the gear needed to create their own recording studio, which was essential to realizing their creative vision. After surpassing their crowdfunding goal, The New Up used those funds to construct the studio at their home, the “Pleasure Pad” (which included converting a closet into an isolation booth and executing some innovative microphone placement), as well as to transform the aforementioned barn in Gualala, California, into a state-of-the-art recording facility and finish up the producing and mixing process at engineer Sean Beresford’s redwood-ensconced home in Woodacre, California.

That renewed sense of purpose brought its share of daunting moments to the making of Tiny Mirrors. What’s more, the band endured many personal shakeups in the last year and a half of working on the album, including the death of several friends and the birth of Pitcher and Reid’s daughter. “Having these heavy and contrasting experiences really allowed us to go deeper into the process of this album—to make music that’s a little more meaningful in a world that can sometimes feel very surfaced or superficial,” says Pitcher. But as a result of their determined perseverance, The New Up ultimately gave life to an album that wholly embodies their mission as a band. “It touches on what it truly means to be human,” says Reid. “And that’s the most important aspect of everything we’re going for with this band: embracing the absolute truth and living with it and really making the most of it, no matter how painful or ugly—or beautiful—it might be.”

The Terms were a Sydney based indie rock three-piece.

The official Soundcloud page of earthling Tommy Crew.

To get in touch email tomcrew82@gmail.com

"An album of breathtaking vision" ★★★★ MOJO
 
"Mysterious and Hypnotic"  ★★★★ Q

"A near masterpiece"  ★★★★  Rolling Stone 

"An absorbing and accomplished debut"  ★★★★  The Australian
"An extraordinary debut album"  ★★★★  The Sunday Times 

"A compelling and unusual act of musical introspection." ★★★★ - The Financial Times.

"an immersive experience with the power to haunt long after it's finished" - The Guardian (New Band of The Day)

"a poeticised music of reflection, mood and observation" - The Independent

"Intriguing and hauntingly lovely" - UNCUT


JOE MCKEE
The Darling Ranges lie about 35 km's south of Perth. The drive is mostly highway, fairly droll until you start actually ascending the hills themselves, at which point great dips and troughs reveal themselves and the whole region takes on a strange arid quality. The area was on fire for about 4 days in early 2011. Joe Mckee grew up in these hills and, after 4 years under the spell of London, he returned to them. Burning Boy is his debut album.
Joe's previous outfit, Snowman, were significant. They released 2 albums out of Perth - 2006's self titled effort and 2009's violent masterpiece The Horse, The Rat & The Swan. Praise, wide ranging and effusive, came from all corners of the globe. Victory laps beckoned. Stumps were upped and the gang of four headed to London, basing themselves out of a small flat above a cafe in Walthamstow. They pieced together Absence – a magnificent pulsing, wash of a record that would become their parting salvo. Two of them moved to Iceland child in tow, another firmly folded into the arms of Cambridge. Joe, always spinning in his own orbit, landed back in Perth with a collection of songs inspired by this process, by home, by London and by the catharsis involved in returning to a place you've tried so long to forget.
Burning Boy itself is a bold shift for McKee. Gone is the pulsing rhythm section so often omnipresent in his work, replaced by a breathy and somewhat unexpected baritone. Cuts like Open Mine, a loose mediation on Western Australia's recent gold rush, and the brooding title track show a vulnerability and lyrical dexterity seen for the first time here.
Recorded with long-time collaborator Dave Parkin, these 10 tracks move together as an exhilarating whole, acting as a timely reminder of McKee's reputation as one of Australia's finest left field composers. Burning Boy adds a few new strings to the bow though. Once you become immersed in it's gorgeous swells and poignant imagery it becomes immediately obvious that in all the coming, going, leaving and returning; that Joe Mckee has, at least for now, found a melodic home.
Burning Boy is out in MAY
on Dot Dash.

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