Sometimes things have to get worse before they get better. While the two summers of love were birthed from burdening times, Vietnam and 10 years of Thatcher’s reign, they were one hell of a party. Unprecedented explosions of youth culture which tore down the walls of perception through communal elation and celebration. Cut Copy’s Free Your Mind creates a fantasy of the next youth revolution, binding the two epochs without the negative baggage. An event told in three dimensions. Turn on, tune in…

Participating in the forms of cultural practice that develop in and around the club, the quartet discovered a portal to the UK acid house movement through Melbourne’s booming subterranean dance community. Interacting on the dancefloor without uttering a word, jointly reaching a higher state, feeling involved in a secret society and ultimately becoming one with the music. A sanctuary that's seemingly only a few degrees away from a bygone era which connected the dots with warehouse locations revealed by hotlines, pirate FM radio and baggy uniform.

The embryonic stage of Free Your Mind saw frontman Dan Whitford take a new approach to songwriting, roughly sketching a song per day for a 4 month period before presenting the fruits to the band and realizing their full potential together. While the album’s themes are at the foreground of the completed work, it was never intended as a concept record; rather ideas buried deep beneath the mind’s eye, unlocked by the collective consciousness of Whitford, Tim Hoey, Ben Browning and Mitchell Scott. Unity in effect.

Recorded in various locations in close proximity to Melbourne’s finest coffee houses, the album was largely an in-house affair before the band enlisted the sonic ear of Dave Fridmann (Tame Impala, MGMT, The Flaming Lips) for mixing duties. Given the psychedelic nature of dance records, Dave Fridmann seemed the perfect match. Pilgrimaging out to his secluded forest base in upstate New York, both parties formed an immediate connection.

Whitford explains “we would cook communal meals for the band, Dave and studio staff, sleep upstairs at the studio and even play badminton on a makeshift court out the back. It had a real feeling of being part of some utopian artist commune, which I guess fitted right in with the feeling of the record.”

Free Your Mind launched in unconventional fashion with a lathe set up at Pitchfork Music Festival in Chicago, literally cutting and copying 120 dubplates Let Me Show You Love for the lucky few who were at the right place at the right time. Like an illegal press manufacturing X-TC for the global rave, the experiment gave random youtube user debaser22 the keys to share the experience with fans all over, uploading a crude document of his 1st listen. For two weeks this muddy bootleg was the only reference of the track's existence, before the band developed a hypnotizing autostereogram that put viewers into the seat of an altered state, setting the tone for a record that invites participation, activates all senses and enlightens the mind.

From using Asger Carlsen’s absurd figure manipulations as press shots, the non-traditionalists have forged further to subvert expectations. Placing huge billboards displaying the phrase “Free Your Mind” in remote areas of the Californian desert, Chile, Western Australia, Mexico City, Wales and Detroit, the band utilized their individual art backgrounds to communicate this mysterious catch cry of an unidentifiable movement.

Whitford adds that Cut Copy are not preaching an agenda, interpretation is left to the imagination, “whether the billboard sits in decrepit suburbs of Detroit, the mountains of Chile or the Aussie outback, people come back with a totally different impression of what it might mean. It’s open ended, with infinite interpretations. I think the concept of freedom is one that's universally positive and timeless, and whatever each person's version of that freedom is, it's a good thing to be reminding people or even just ourselves to be "free".

Inspired by the rural environment of his hometown, multi-instumentalist, singer and producer Panagiotis Melidis (born in Veria, Imathia, Greece) started to write music as Larry Gus* in 2006, soon after the early demise of his previous band Ginger (a bass and drums duo with a sound adjacent to the early 00s Providence scene, paired with HipHop overtones).

Initially he spent some time composing production music, and later on he got his name due to some intense and chaotic live performances. What he kept from his first band were the primitive aesthetics of groove based music, along with an obsession for late 60's / early 70's free-jazz. But he went on and combined them with sample-based ethics and crystal clear psychedelic pop melodies, all merged into an infinitely dense amount of layers and polyrhythms.

His first album proper, Stitches was released in 2009 for Greek HipHop label Cast-A-Blast and soon after that he resided for a year at the Music Technology Group in Barcelona (Reactable, Freesound) as an intern and postgraduate student. Then he relocated back to Veria to work on his next project, Years Not Living, an album directly inspired by Georges Perec's 1978 book Life: A Users Manual and Lucio Battisti's 1974 album Anima Latina. The YNL sessions had 85 songs as a result, and the whole process, set amidst financial crisis' Greece was documented and will be part of the feature film My Friend Larry Gus (directed by Vasilis Katsoupis), to be released in 2013.

Meanwhile, among many remixes, he also put out the mini-album 24 Beats (July '11) on the Lefse Records imprint, Waaga. Most recently, he released Silent Congas via DFA Records, a 9 song taster of the YNL material, with the actual Years Not Living LP coming up early 2013 on DFA.

So far he has performed at various venues around the world, and has also participated at the 2nd Athens Biennial and 2nd Nuit Blanche à Metz. Panagiotis currently lives and works in Milano, Italy, still carrying certain obsessions with Jorge Luis Borges, Georges Perec, Lucio Battisti, Woody Allen and Otis Jackson Jr.

*larry gus = ????: greek for larynx

Kirin J Callinan

KIRIN J CALLINAN has his own theory that the three great Australian bands, the Mt. Rushmore of Oz if you will, all have a criminal aspect to them: AC/DC = gang of outcasts raising hell, INXS = sexual deviancy, lasciviousness, and Nick Cave = murderous poet. Kirin has elements of all three, and in time, he will be the fourth face on that rock.

July 2, 2013 will mark the release of Kirin J Callinan's debut solo LP EMBRACISM, via Siberia Records/Terrible Records in partnership with XL Recordings.

A guitarist, singer, songwriter & solo performer born in Australia, Callinan is a child of the 1980's, who excels at haunting compositions and wild guitar playing. He is known for his confrontational live performances, which are always shirtless, brilliant, and rich with some combination of guitar hero antics, musical theater, stand-up comedy, primal emotion, punk sensibility, awkward silences and ugly realism. He is a performer by nature, very charismatic, and very unafraid to bare his soul.

"The Australian Kirin J Callinan took Glasslands' stage by himself, which is all he really needed to then take most of the room….Callinan's voice is tuneful and halting — psychobilly-redolent stuff with an operatic air. Callinan's persona frames a nervy, curdling yet endearing charisma you can't take your eyes from and makes you laugh and yet you probably wouldn't let your young ones near….The music was rarely conventional, mostly experimental, like Scott Walker with a thing for stomp boxes and Lux Interior and Nick Cave." Read a review from STEREOGUM after they attended an early show of Kirin's last October in New York during CMJ.

Embracism's title track was released to the public in April of 2013, and served as an audacious mission statement. The album itself is an incredibly ambitious and varied work that traverses many styles, touching on such themes as masculinity, death, war, patriotism, infidelity and loss, at points jarring and dissonant, at others subdued and positively melodic, while remaining pensive and vulnerable throughout. Embracism was produced by Kim Moyes (The Presets) at his home studio in Sydney and mixed by Chris Taylor (CANT, Grizzly Bear).

KIRIN J CALLINAN previously cut his teeth as a guitarist, most notably playing in bands (Mercy Arms, Jack Ladder) amongst numerous collaborations. Embracism is his debut full-length release as a solo artist.
Terrible Records was started by Ethan Silverman and Chris Taylor. This release, in partnership with XL Recordings, follows previous releases from Twin Shadow, Kindness and Solange.

Siberia Records is Kirin's Australian and New Zealand home, originally started by the Midnight Juggernauts to release their own music worldwide, now releasing a new wave of Australian subversive groundswells and popular consciousness.

$21.00 - $36.00

Tickets


Show :: 8pm (times subject to change)

Advance $21 | Day of Show $25 | Door $25 | Mezzanine (21+) $36

There is a $2 fee that applies to each ticket purchased at the Cain's Box Office.

No re-entry! No smoking! No refunds!

add to your calendar

Who’s Going

Upcoming Events
Cain's Ballroom

Ticketfly

Cut Copy with Larry Gus, Kirin J Callinan

Sunday, November 10 · Doors 7:00 PM at Cain's Ballroom