SARRY (Japan) LIVE in Perth

Heartless Robot Productions present
SARRY (JPN)
With special guests Predrag Delibasich, Brules Rules and Salamander

7pm - 11pm
Monday October 3rd
The Bird - 181 William St, Northbridge

Powerful experimental music direct from the dense underground scene in Osaka, Japan. Formed in 2004, Sarry are at the a premier example of the incredible Japanese independent experimental movement and will be making their first journey to Australia this Spring.

Members: 
Fujiyuki (vocals) 
821 (bass)

Through Fujiyuki’s softly screamed vocals, gently echoing into madness, and 821’s bass, which reaches for the innermost depths of the human heart, Sarry’s music - at times incantational, at times narrative - explores the occult realm of sound that connects this world to the next.
Taking elements from various genres such as dark ambient, drone, Buddhist ritual music, krautrock, hardcore and noise, and blending them into an original style of performance using only bass and vocals, Sarry stands out even in Osaka’s underground scene - the most unorthodox in all of Japan - and has received praise from musicians at the forefront of the Japanese underground.

First album “φ” released on Gyuune Cassette (JP) in December 2008. 
Second album “ψ” released on Gyuune Cassette (JP) in July 2009. 
Limited eddition album “Roshara” released on REVERBWORSHIP (UK) in February 2011.

http://sarry.info/ 
http://myspace.com/sarry321

Predrag Delibasich
http://predragdelibasich.bandcamp.com/
Pex (Predrag Delibasich to his mother) left his home in Serbia in 1992 to get some cigarettes and ended up in Perth. He did some shitty work at the factory, drove cabs until one day he had that jerk from Live as a customer. Pex though “If this idiot can make it, so can I”. Ten years later Pex still doesn’t make it. But he does make some interesting sounds using an electric guitar, multiple effects and a Loop Station. From tender to cacophonous, from noise to lullaby, from zero to 0.1 in less than a song.


Brules Rules 
http://soundcloud.com/brulesrules
Duo formed in 2010. Featuring one Injured Ninja / Usurper of Modern Medicine (Steven Aaron Hughes) and one French Rocket (Carl Properjohn). Deep electronic samples paving the way for a crushing force of lush guitar, cascading and multiplying live into loop recording computers, resulting in relentless waves of sense-annihilating abandon that obliterate the audience’s perception of time and reality. For your health.

Salamander
salamandertwo.blogspot.com
Salamander stir up boiled hallucinations in waves of volcanic drone, rattling percussion, computer-sculpted soundwaves, sampled habitats, echoing trumpets, mutated synthesizers and layers of gradually disintegrating noise.

Tickets on sale at the door
$10 Entry

For more information please contact
heartlessrobotproductions@gmail.com

www.heartlessrobotproductions.com

Abe Sada interview

             

Ahead of the ABE SADA/SUB ORDNANCE 12” vinyl review we took time to chat with CAT HOPE:

1: Abe Sada are a collective that has had many members of Perths music scene come through and contribute, can you name some of the people that have played with Abe Sada? How many bassists will be playing at the launch this saturday?

  Abe Sada began when I saw Pex do his solo live bass thing, something I was doing as well, and I asked him if he wanted to be part of a multi bass improv group. Since then the membership has been wide ranging – and international! Here in Perth we have played with Ben Franz, K Ford, Mal Riddoch, Kat Papas, Paul Haimes, Rachael Dease, Ant Gray, Lindsay Vickery, Theodore Bird… There are lots! We did a tour in Japan with a different Japanese bassist in each venue, and in Melbourne Abe Sada members have included Robin Fox, Dave Brown and Bruce Mowson.

2- The track ‘redux’ is 25 bass guitars live in the ‘Spectrum Project Space’, what were some of the guidelines/conditions you asked for when people agreed to play?

Well, there is a score for this one (like all Abe Sada scenario’s) that is included with the record. It gives all the parameters for the  performance: like how long, how low, what to play/not to play, how to set up etc. It comes from the Abe Sada Songbook, which has lots of scores for different places we’ve tried out. You can download the songbook from http://cathope.com/scores/ and try them yourself!!


3: What are some of the differences/challenges of playing live in Abe Sada compared to a more ‘conventional’ act like Gata Negra?

The main challenge is getting venue people to understand not wanting a PA or a stage. Once we overcome that, its ok. But the audience is sometimes not  for that kind of theing either. Without the stage presentation its very likely people don’t know you’ve even started, they think something has gone wrong with the house music. I remember the last time we played at the Bakery, spread around the floor space,  there was someone standing RIGHT in front of me for the whole gig, I mean like 20cm from my face – they had no idea what I was doing there, even though I had a bass guitar in my hands! I used to get very nervous at Gata Negra gigs – remember the lyrics, sing in tune, that whole singing and playing bass multi task challenge (!) - Abe Sada gigs are much more relaxed as you just feel you way through the piece. The only bad thing that can happen is if you can’t hear the others and its hard to find the ending. A short Abe Sada concert is a good one! Its great to see people engage with the off stage idea, and wander around finding different places to listen and watch.

4: Abe Sada have had 2 releases in Japan and a tour there, what was the reaction like to the sound ?

Things go well for us in Japan, but I think we will always be a small, experimental act there. That’s fine – we’ll never be a stadium band that’s for sure! There are so many different approaches to music in Japan, that we fit right in!


5: Abe Sada have played basses in creative and unique ways, also in and around venues. Tell us about some of these, how will the band play the venue this weekend, compared to the way it is on the release.

Well the Songbook has scores for playing in a football field, in corridors, multi room buildings, and even music venues. This one will be the music venue idea. The release however features just under 30 bass players – that play in the art gallery, which was locked, and the audience was outside. The recording is made from a mix of the sound inside the gallery, and some pick ups put on the large glass of the gallery. Outside the gallery you could hear the building vibrate, different parts of it at different parts in the piece, but on the record its really the ‘players perspective’.

I am very keen on retaining ephemeral elements to every concert. If you were there at the concert, you would get the building vibrations – the record is a different kind of document. Though having said that, some people at the show really didn’t understand what they were listening for either, it wasn’t spelt out and they felt we were being ‘exclusionist’ but keeping them out! It did turn into a bit of a pressure chamber in there, not always pleasant. At the launch tho, it wont be anything like that! It will be pleasant for all!

Sub Ordnance interview

                    

Ahead of the ABE SADA/SUB ORDNANCE split 12” release, we took some time to chat with KFORD (Sub Ordnance/Abe Sada).

1 : Sub Ordnance originally started as a duo and were named ‘Chainsore’. Why the name change and who else contributes/plays in Sub Ordnance (live incarnation) now? 

If I remember rightly I had to come up with a name and fast for the BEAP+- show and ‘Chainsore’ was the best I could come up with at the time. After that show both Charles and I realized that gigs with this set up would be few and far between. We both had a background in rock or heavy music and wanted to also write music as a guitar and drum duo. We had already had a few sessions in a rehearsal room prior to experimenting with the chainsaw and thought that the  name ‘Chainsore’ was a little to literal and restricting to the other avenues we wanted to pursue. Plus no offence to the online gaming community but there were way to many avatars with that name.

For our first show we asked Lee from Suffer to do vocals with us. We had both played together in Phalemik. He is a great musician and has a good insight and interest in the broad genres of music. I told him of our plan and he agreed to join us.

Charles and I are the core members but it is always nice to incorporate other like minded people into our performances. This show we have Andrew/Non Linear Circuits and Dirty Haint. Andrew Builds synthesizers, not the keyboard type but amazing wall sized patchable ones. He will be bringing along and audio and a video synth to mess with your eyes and twist your ears. Dirty Haint has a performance background and runs a multi disiplinary arts company here in Perth. Haint will add the vocal element to our set and his presence will be in the form of a shapeless octopus.

2: The chainsaw is predominant sound in Sub Ordnance, what other sounds/instruments are used in Sub Ordnance?

In the past we have used tone oscillators which Charles controls along with playing the drums. Apart from the element guest performers bring, the sounds are either direct or processed chainsaw sound. The petrol chainsaw has a a great mix of low two stroke idling and some nice revved up highs. Funnily enough this is the recipe for most of the music I enjoy listening to. The chainsaw is essentially a loud violent and dirty sound source which is nice to process.

3: The track on the 12” ‘organ grinder’ has a driving, almost ‘punk’ beat. Was the track an Improv or was it layered over time? How was the recording process?

The first part we recorded were the drums so it pretty much set the pace for the rest of the track. It was laid down in one take which was the guideline for this recording: set up the next instrument or sound source, press record and improvise for thirteen minutes, repeat. We both took turns at adding things to the mix which included ruined piano, oscillators, motor driven bass, vocals, some turntable parts and of course chainsaw. It was all very DIY and we recorded it all over the place. The backyard, the kitchen, in a rehearsal space, the lounge room. This allowed us to add tracks where and when we wanted to. In all it was about a three week process including mixing.
With the help of my friend Mal (Malnos Feratu) we mastered it and off it went.

4: Tell us a bit about the launch and the bands that are playing.

The night is the launch of the 12”split record between us and Abe Sada and is being held at The Bakery on Saturday the 2nd. Abe Sada have played there a few times in the past and also recorded ‘SubZilla’ there before it was revamped. I got to crank up the saw for one of the tracks on that record. For us this will be our second time since our first show in 2007. 

I think we have a solid line up for the night which includes Steve Matzkov, Drowning Horse, The Butchers and THEINTENSOBAND. Steve is an amazing solo instrumentalist that ventures into improvised soundscape/shoegaze. I’ve known Steve for years and witnessed him perform under the name High Impedance on many occasions. It is always a pleasure to see him play and I’m really looking forward to it.

I saw Drowning Horse at the Heirs show and in my mind they blew the headliners off the stage. I thought they’d be perfect for the launch. They are doing an instrumental set on the night so it should be a little different but just as bludgeoning. I have to be honest in saying that I haven’t seen the Butchers or THEINTENSOBAND before but friends have recommend them both with high regards. Both bands have members with a history in the Perth music scene (Air Assemble and the Futurists). Can’t go wrong there. 

The doors open at 8:00pm and Sub Ordnance start at 8:30. If you want to see the chainsaw in action get there early. Go to nowbaking.com for presale tickets or it will be $15 on the night. The delicious red vinyl record will be on sale also for $15 on the night. Bear in mind that your system will eventually flush that pint or two but the record will last forever.

5: Sub Ordnance live shows are rare and using a Chainsaw live carries an air of danger. What are your thoughts on live acts that push the envelope of live performance vs more ‘static’ live bands? 

It might seem strange but I spend most of my time at shows with my eyes closed.
Its sounds a bit pretentious but it is more about sound for me. Some acts incorporate a visual element and others don’t but as long as it sounds good I don’t think it matters. There are performers such as Attila from Mayhem (looking like a dead pope playing with the devils rubix cube) or Justice Yeldham (playing sheet glass with his sliced and bleeding face) were you just cant look away. Justice Yeldhams performance was brutal to the eyes and ears and fueled the idea fire for me to give the chainsaw thing a go.

I myself am a static performer. If you ever saw Phalemik I’m as inanimate as the Angel’s guitarist but without the element of cool. Put a chainsaw in my hands and it adds some edge to the performance but for me it falls into the  realm of watching motor sports. Some want to see the cars go round but others (myself included) want to see the cars smash into each other. Luckily for me I’m a safety nut so it should all be fairly safe. Things have gone crazy in the past but the less said about that the better. Just watch the end of http://youtu.be/FAKfs8ruRg0 to see what I’m talking about.

http://youtu.be/FAKfs8ruRg0