Gold Fields

The debut self-titled EP from Australian quintet Gold Fields bursts forth from the speakers with a freshness that cannot be denied. The band’s first single “Treehouse” opens the setwith a glossy slice of pop etched with tribal drums. With a rush and a push of propulsive percussion and tribal textures, “Moves” provokes dance-inducing enthusiasm, even as its evolving lyrical hook lures the ear into a Trans-Pacific game of telephone. Percolating with pops and claps, the syncopated rhythms and shifting dynamics of “The Woods” evoke the otherworldly ambience of venturing deep into the wilderness, slivers of light contrasting with singer Mark Fuller’s shadowy incantations of “I wish we knew how to play safe.” Compare those three cuts with “Holy No,” a sinewy, slow-motion funk groove that creeps along on cat feet of wah-wah guitar and sinister keyboards. While all four selections are audibly the work of the same band, each boasts a distinctive character—just as Gold Fields intended. “From the beginning, we made it a big point to make every song sound different,” says guitarist Vin Andanar. “We didn’t want to be pigeonholed as part of any scene or specific sound.” Instead, they concentrated on creating original music that met their own high standards and was fun to play. That’s not as easy as it might seem. Not when your band is comprised of five avid music lovers with individual tastes. That disparity accounts for Gold Fields’ eclectic sound, but also sets up challenges when developing new ideas. “We’re not going to release a song until everybody in the band is happy with it.”Luckily, Gold Fields is pretty harmonious lot, the result of friendships that predate the band’s formation in early 2010. Growing up in Ballarat, a Victorian era boomtown about an hour’s drive west of Melbourne, the five lads attended school together starting around age 12. While that camaraderie is the glue that bonds Gold Fields, this was no leisurely idyll or excuse to hang out. From the outset they were dead serious about reaching a wider audience.Rather than claw their way up through the club scene, the quintet concentrated on writing and recording the best original material they could. Once they’d fashioned a six-song demo, they sought out professionals to help refine their sound and steer their career. After meticulous research, and a bit of well-intentioned deception on Mark’s part, they secured representation with Australian management group Archangelsky. Producer Scott Horscroft (The Presets, Sleepy Jackson, Silverchair) polished up their home recordings, giving birth to the ebullient debut single “Treehouse” plus the material showcased on this EP. With support from alternative radio tastemakers Triple J, Gold Fields was soon playing dates at the Falls Festival, Field Day, Groovin The Moo and Parklife, as well as support slots for Crystal Castles, Datarock, and Pnau. They’ve also gone down a storm at intimate venues in Los Angeles and London, where the band supported SBTRKT and The Naked and Famous. Wherever they are, the band members push themselves to give audiences their money’s worth… and then some. “We really like to have fun on stage and get into the show,” says Vin. Rather than painstakingly reproducing their recordings, they use the studio versions as jumping off points for new arrangements, in hopes that fans will come see them live just to hear what happens next. In late summer of 2011, Gold Fields spent six weeks in Los Angeles working with producer Mickey Petralia (Beck, Ladytron, Peaches). Upon returning home, they retreated to a remote manor on a farm and continued writing more songs, which they subsequently recorded with Horscroft. The resulting debut full-length is slated for international release later in 2012. But please, don’t wait till then to check out Gold Fields. At the rate this fivepiece is evolving, you might never catch up to them if you don’t start now.

Rush Midnight

Rush Midnight is ready to step out from the darkness. As the bass player for George Lewis Jr.'s synth-pop outfit Twin Shadow, the man formerly known as Russ Manning is no stranger to nostalgic pop. For his first solo EP, +1, Manning has fashioned himself as a wistful Casanova, less hard-edged than Lewis' leather jacket-clad persona, but with a similar sense of John Hughes-type cool.

Among the synthesizers, drum machines, and sparkling vocals of +1, Manning's world is one of classic romance set against the backdrop of lurid nightlife. That may sound theatrical, but during our talk, Interview got the distinct sense that the real Manning isn't all that different from the wistful-romantic character he plays in his songs. When we mentioned the impending hurricane barreling up the coast, Manning's answer was the perfect snapshot of his personality: "I just caught one of last trains. I'm just gonna hang with my girl, maybe watch Walking Dead, and just get in the zone. I might finish this jacket that I'm studding. I'm studding the whole collar." If the apocalypse happens tomorrow, Rush Midnight is going to look the part.

Honeymooon

Honeymooon is the romantic conception of Australian, LA based music producers, Aaron Shanahan and Benjamin Plant. After many years producing and writing electronic music, the duo have given birth to a new project which investigates their love of colorful psychedelic 60’s-70’s pop.

Having spent the last year relocated in Los Angeles, an overflow of inspiration has left them with a combination of everything from soft blissed out dreamscapes to the hot pop Californian sun burns that can be felt with their first single “Hail the Madmen”.

With an amalgamation of lo-fi squelch, dreamy guitars and warping synths, Honeymooon is a true aural trip into the west coast sun. Through a kaleidoscope of melodies, they provide the sonic color and boldness that most music seems to forget.

Their debut track “Hail the Madmen” is inspired by the problems and impact of the homeless in San Fran and LA. The result is a cartoonish, psychedelic ditty that sends its listener on a Magical Mystery Tour of sounds with a conscience.

The release of the “Hail the Madmen” single will be accompanied by a visual film directed by Dimitri Basil, who previously put his classy touch on Flight Facilities video for “Foreign Language”.

A full length album is forthcoming so expect your summers to be warmed by an additional slice of lushpop inspired by the likes of Fleetwood Mac, The Beatles, and Todd Rundgren heard crawling through lost 70’s albums, and blooming through surreal lo-fi speakers.

If the best music paints a picture, O-BE1 is nice enough to include you in this picture. He plays music to make you dance.

O-BE1 has supported notable international DJs such as Claude Vonstroke, Skrillex, Mr. Oizo, Justin Martin, Jesse Rose, Proxy, Boy 8 Bit, Feadz, Cut Copy, Midnight Juggernauts, Bag Raiders, Zombie Disco Squad, Oliver $, D.I.M., Drop The Lime, Breakbot, Djedjotronic and The Bang Gang DJs, among others. It’s okay if you haven’t heard all of these DJs; you can cut, paste, and download. Passively, that’s what O-BE1’s music is—a non-genre of fragmented imagery jammed together. It’s what’s going on in your mind right before you remember something awesome. O-BE1’s THUMPS IN THE NIGHT, PANTS PARTY and MINI MIX made many people believers; however, O-BE1 live is a tactile tunnel of good taste. You’ll feel new ways about old things and old ways about new things. For now, he’s based in Los Angeles, but in the future, O-BE1 plans to weather his passport like a wallet, while playing music for people like you that aren’t like you.

adv tix $13.00/day of show tix $15.00

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Gold Fields with Rush Midnight, Honeymooon, OBE1

Friday, September 6 · 8:00 PM at Troubadour