EARS Blog: What’s Happening at Mastering Studio ENCODER Sound, Perth

That’s it for 2022! From a mastering perspective it was a year full of epic singles, complex EPs, and expansive albums created by fantastic Boorloo/Perth artists, filtering through ENCODER Sound, and reaching out to the ears of many. From a listening perspective it was a year for sinking into some classics, “discovering” new releases, and experiencing some incredible live shows. And, from an artist/performer perspective, a year distilled into a few very special performances.

Many thanks to those who entrusted their art with me. I truly relish the challenge and the process, and hope the work has realised your musical dreams. Also, a big shoutout to the folks that make the Boorloo/Perth music scene such an interesting place, particularly those really settling in here and chipping away at a body of work.

Here’s a little synopsis of the year encompassing all manner of musical engagement.

Mastering

There’s been some real gems mastered at ENCODER Sound this year, and the following is a reflection on a handful of them. It is excellent to see music coming through the studio and reaching the ears of the people, illustrated by friends of the studio Web Rumors, Blue Honey, Nika Mo and Sugar Wife all making RTRFM’s 100 Most Played Tracks for 2022 — all in the top 50, and Web Rumors and Blue Honey wearing out the grooves in the top 5.

A virtual torrent of new work was released by Web Rumors. Starting the year with single Heaven, followed in a similar vein by Northern Service, all building to the Disciple EP, five tracks inspired by 70s and 80s underground club music. Then quickly moving onto new things, the amalgamation of new wave and traditional British folk story and song. The first iteration being Cruel Sister, a cover of a Pentangle tune, with the original folk story originating in the 17th century, presented by Web Rumors in this 70s/80s new wave / electronic / underground club aesthetic. Of course, all these are plainly good to listen to, with all singles making RTRFm Sound Selections at time of release and the Disciple named RTRFM Local Feature for the week of August 22nd.

Blue Honey’s debut single Colin received rave reviews across the country, the band were thrown into the Triple J Unearthed Artists Spotlight during release week, and made RTRFM Sound Selection. This song feels so complete, the band sharing such a consistent vision for the work, and there just isn’t a weak moment where the listeners’ attention is lost. Their followup, Burden is another stellar example of great song writing and consistent aesthetic.

Pale Ribbons Tossed into the Dark. Image by Traianos Pakioufakis.

The low-key, super-trio Pale Ribbons Tossed into the Dark released their debut self-title record — following single The Creak, released earlier in the year. It’s sonically dense and complex music, and for me the kind of music where I want to lean back and sink into the experience, letting the momentary detail and longer timescale timbral shifting wash over me. The band backed up the release with a number of shows, the most unique of which was a sunrise set in the WA Museum Boola Bardip.

Alexander Turner and Lachlan Kettell, aka 504, delivered Salvage Rhythms on Tone List. The album a triumph of lo-fi samples and personable sonic conversations. It’s quite different to the Pale Ribbons record but deserves a similar listening process — start to finish, nestled in a comfy chair, probably through headphones. 504 also backed up the release with a performance at Kinds of Light series, a Tone List and PS Arts Space collaboration.

The magical mind of Jeremy Segal that continually weaves an intricate, genre-bending web through the Boorloo music scene delivered the debut double release from project Brix. Arkansas/Blown Out Windows is guitar riff, vocal melody driven music reminiscent of Deerhunter and The Strokes. This music feels like something you’d assume was from far away, but the Boorloo/Perth scene makes music this good all the time.

Vacuum Dreamer’s newest single Pinpricks is a really heavy and catchy one from the young Boorloo rockers. Upon first listen it really solidified for me that they had written the perfect guitar driven indie song, many subsequent listens were just to verify my initial reaction, and simply to enjoy the music. They really brought it live too, with an epic release show at The Bird filled with their fanbase bouncing along to every tune.

From the world of Blue Grey Pink came new work from Jocelyn’s Baby and Sugar Wife. Both groups employing Ryan K Brennan at Golding Sounds for recording and mixing (who’s services I can recommend). Jocelyn’s Baby’s two double releases, Grab Your Gun and Did it hurt you? struck a chord with listeners and perhaps created a new genre, the band labelling the work dark-country-queer-flamenco-rock. These releases are filled with tight performances and lyrics about the creative life and process, making space for diverse voices, and the music industry at large.

Sugar Wife’s debut full length album arrived in October after a prolific period of songwriting, and years crafting the final recording. Ablations features some of the most evocative lyrics to come out of Boorloo this year, holding observations and experiences of everyday middle Australia from an artists perspective. The record pulled into an RTRFM Local Feature berth nicely on October 24th.

Sage Harlow’s compositional debut hit the shelves in Germany with variations without a theme (drones ongs) released on Editions Wandelweiser Records. It’s a chamber work for improvising ensemble, with four movements spanning 80 minutes total. Listening to this 5 months on, it is the moments of reveal that are the most striking. Where the sonic density dilutes to a singular voice, sometimes the voice that had your attention all along, and sometimes to the one you hadn’t realised was present.

Finally, weaving poetic imagery with starkly personal lyrics Nika Mo’s Coffee Dreams EP landed just in time for the EOFY. There is a softness and intimate nature to these recordings that find that sweet spot where a lo-fi approach amplifies the artistic intent tenfold. Upon re-listening it is impossible to hold back tears, truly these three songs constitute a small masterpiece. ‘Stairs in the Nighttime’ was in the RTRFM Sound Selection on April 4th, and remained on repeat, finishing at number 12 most played for 2022.

Scene

2022 felt like a really full year of live performance and some of my favourite musical experiences were as an audience member. There was also a heartwarming collaborative spirit around a few workshop series I was lucky to be involved in.

Tone List’s Audible Edge Festival, of which I am Production Manager, brought high-level exploratory sound to the public throughout the year. Highlights for me included; Craig Pederson’s Australian Quartet, music that felt like it might be jazz, but reached further into the pianissimo dynamic, avoided common compositional form, and left ample space for the ensemble members to stretch; Pale Ribbons Tossed into the Dark’s 6am sunrise set overlooking to Perth skyline, it was a little surreal; the masterfully complex solo performances from AAO members Aviva Endean, Peter Knight, and Jasmin Wing-Yin Leung; and, Jack Wansborough’s Noise & Vibration Council, diligently constructed music, performed with great commitment. I have so much admiration for the Tone List team and many staff, collaborators, and volunteers that put together this years Audible Edge. A few key folks, Josten Myburgh, Jameson Feakes, Annika Moses, Tess Stephenson, Alexander Turner, Lyndon Blue, and Lenny Jacobs should be applauded for their dedication to this music and the scene.

GreyWing Ensemble concluded a big year of performances with a show at Old Customs House. The program was stacked with carefully considered compositions. I remember that evening really felt like it was the right space and time for that music. It’s a large, resonant gallery, and the pieces involving field recordings amongst the chamber ensemble were in perfect balance — Josten Myburgh’s Banksia’s under snow a highlight.

It was also really nice to see the activity of Resonant Fields, a collective of young musicians engaging with improvisational music practice. Sharing and learning with them in workshop, and getting a sense that the next generation of Perth improvisers is starting to come through with energy, focus, and ambitions was inspiring. Hats off to organisers Moses Kington-Walberg, Victor Arul, Claire Orman, and Bailey Ireland and the many participants of the collective. Similarly, Sound Impro Freo began monthly workshops around improvisational music practice. It was nice to share my perspective with the group, and return to play with all the folks later in the year. I wish Kate and Coral all the best in continuing this initiative.

Performing

Throughout the year I certainly felt a pull away from the performance and creation side of my musical practice and was completely satisfied dialling in the finishing touches on other artists work through the mastering process. Though there were some memorable performances with friends and longtime collaborators. Specifically, the Windhover duo with Ed Cossio performing in four-channel surround at Old Customs House came together really well. Ed brings a lot of energy to the stage and consistently surprises. I have a feeling a lot of the magical sounds I thought I was contributing to that set may have been emanating from Ed’s elaborate autoharp setup.

Recording and performing Sage Harlow’s composition variations without a theme (drones ongs) was another performance highlight. The ensemble of Sage, Josten Myburgh, Jameson Feakes, Saskia Willinge, Djuna Lee, and Oz Kesik play in a manner that is extremely sensitive to the content of the compositions. The live performance in the centre of the PS Art Space, a large warehouse-style gallery, was quite special, there is something very nice about quiet sounds in a really big space.

Listening

A few things from afar caught my ear this year, some new and some classic.

I returned many times over to The Smiles new record A Light For Attracting Attention. The focus on groove, reminiscent of Thom Yorke's solo work, and the straight ahead guitar playing in the indie cannon in combination I find unique. There is also a great breadth of timbral variation and approach, with high contrast between songs, and somehow the album holds together. Nothing has made me think more about picking up a guitar again more than this record.

Spoon’s new album Lucifer on the Sofa has some really good guitar tones, and the hooks are plentiful. I also really like the production aesthetic, the whole record leaning more towards the live band experience. For rock music of this kind it is also quite patient and not over saturated with ideas, the band sitting with grooves longer than you might expect and letting lyrical interjections breathe.

On high rotation in the studio was Goldfrapp's Felt Mountain. It is a record of lush string orchestration, long reverbs, and synthesiser interjections that create a strange otherworldliness — occasionally it feels like Portishead at the Roseland Ballroom, at other times like a James Bond soundtrack. The song ‘Deer Stop’ is a favourite and the single ‘Utopia’ sounds huge, though it kind of sticks out awkwardly on the record sharing more with Goldfrapp’s later work.

Deerhoof released My Lovely Cat! which ultimately led me back to 2017’s Mountain Moves. The opening two songs on that record ‘Slow Motion Detonation (feat. Juana Molina)’ and ‘Con Sordino’ …well… it’s difficult for me to put into words how they capture my ear, interesting riffs with a unique vocal, and the sections kind of drop you into different small worlds without being jarring.

Happy New Year

All the best for the holidays and happy new year. I’m really looking forward to the new year and I foresee some very excellent music coming your way in 2023!