"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.

Composer I Lyricist I Orchestrator I Song Writer

E: slnelson92@hotmail.com




Promos / Bookings:
rawdeephouse @ gmail.com (remove spaces)

Forthcoming:
Knite Grooves Vol. 3 EP:
http://www.juno.co.uk/products/ultra-knites-tommy-knite-grooves-vol-3/574565-01/

One half of the production duo http://soundcloud.com/ultraknites

Co-owner of Ultra Knites Records

Evelyn Ida Morris, best known as Pikelet, is a gifted musician, celebrated for their dexterity across multiple instruments and for songwriting that is complex and structurally adventurous.

Since 2007, Morris has released four albums and two EPs as Pikelet, an experimental pop act, winning the Age Music Victoria Award for Best Experimental Musician and being shortlist for the Australian Music Prize. Prior to that they were known for their drumming in hardcore acts such as Baseball and True Radical Miracle.

In 2014, Morris co-founded LISTEN, an advocacy group focused on creating discourse around and documentation of gender diversity and gender politics in music in Australia.

Morris has an extensive history as an improvisational musician, alongside their practice of composed pieces for piano, synth, guitar and drums.

As a session musician Morris has accompanied artists such as Ariel Pink, Darren Hanlon, Grand Salvo, Laura Jean and Clare Bowditch. They have collaborated on various projects, including The Boredoms’ Boadrum 10/10/10 performance at Melbourne Festival and Deanne Butterworth’s dance work Siteless Now at the National Gallery of Victoria.

Sam Gillies is a composer and sound artist with an interest in the function of noise as both a musical and communicative code in music and art. His work treads the line between the musically beautiful and ugly, embracing live performance, multimedia and installation art forms to create alternating sound worlds of extreme fragility and overwhelming density. 

Sam’s music has been programmed at both national and international conferences and festivals, including the Test Tone Series at Superdeluxe, Tokyo and the International Computer Music Conference. Sam is currently studying a Masters in Composition at Goldsmiths, University of London.


Greetings from Theremin player Brontide Aether.

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