Weekly Beats comes but only every two years and since 2012 I’ve committed myself to it as a willing participant. In short, it’s a project that involves its participants to write and record an original piece of music each week for the rest of the year. I’ve never made the full 52 weeks, but since its inception in 2012 I’ve thrown myself into it in order to kickstart some new ideas or nudge along curiosities.
Let It Go takes its inspiration from two things: guitar and Jim O’Rourke. Since I’m using each month of this Weekly Beats year to explore a particular area of instrumentation/process, I thought it would be interesting to use the variety of guitars in my studio and see what would happen.
Both “Mouth Canyon” pieces anchor themselves around open/alternate tunings, fingerpicking and circular chord progressions in the style of country blues and folk. In this sense, O’Rourke’s Eureka and Bad Timing were obvious touchstones, but his earlier work with David Grubbs (Gastr Del Sol) and Grubbs own work informed the composition and arrangements strongly. They’re (to date) the most accessible tracks I think I’ve ever put on this Bandcamp page, and maybe that’s a good thing. Between the “Mouth Canyon” bookends are two more abstract pieces which again reference O’Rourke/Gastr, but listening back to them now I think they’re much closer in style to Daniel Lanois’ solo work. If you haven’t heard his 2016 release, “Goodbye To Language” I urge you to do so; it’s absolutely beautiful.
Recorded at Studio Maurilia – February 2018.
All tracks composed and performed by TLR.
TLR: voice, guitars, reed organ, synthesisers, bass, mandolin, baritone ukelele, glockenspiel, percussion, electronics, programming.
Artwork is a collage of three stills from the Nicholas Roeg films, Bad Timing, Eureka and Insignificance.
Last Saturday, Thomas Kalleske and I played the last of three Garden Ruin gigs at the Edinburgh Castle as part of Guitars In Bars. On the Garden Ruin front it’s been a busy year with a string of performances around Adelaide and demoing new material for an EP. The Guitars In Bars gigs were particularly special since they were longer than usual sets (stretching past a hour – a real test of endurance!) and featured the addition of my friend and excellent musician Thomas Kalleske on backing vocals, guitars, banjo and ukulele. Tom would join me for the middle section of the show, breathing new life into older Garden Ruin numbers (“Ladybayonet”, “Blackberry Rust”) whilst adding his lovely touches to new songs like “Queen Tide”. A selection of cover songs were featured over the three gigs including Robyn Hitchcock’s “Flanagan’s Song”, The Byrds’ “Everybody’s Been Burned”, Elvis Costello’s “Love Field” and Songs: Ohia’s “The Gray Tower”. Good times, all round.
Now that my sound design commitments with Emma Beech’s Life Is Short and Long project are taking priority, I’m looking forward to taking a little break from Garden Ruin activities. However, hopefully there will be time for the occasionally gig in the latter half of the year as well as recording some new material which I’m very much looking forward to sharing.
A demo of a new song recorded in the Piranha Shed yesterday arvo. Hopefully recorded with a few new tracks for an EP later this year.
Southern Gothic is the first proper Garden Ruin release since the 2013 EP, Horseplay.
An album dedicated some of the haunts and curios discovered and recovered around my hometown. Thoughts also go out to the ghosts of stylus grooves, the remains of demolished partitions, the streets still without streetlights, the last of the dirt roads, inevitable boredom, recurring dreams of guarding 3 Field Street at night, Jason Molina, David Bowie and Frank Cook.
Currently available as a free download over at the Garden Ruin bandcamp page.
Something new from the house of Garden Ruin. A new album is in the works.