Eden Mulholland
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Eden Mulholland

Coolum Beach, Queensland, Australia | Established. Jan 01, 2014 | SELF

Coolum Beach, Queensland, Australia | SELF
Established on Jan, 2014
Band Alternative Indie




"EDEN MULHOLLAND: Music For Dance"

Probably this shouldn't work. Music for dance pieces have to be special to exist without the moving images -- and yet in theory they should be able to do exactly that.

These do.

Eden Mulholland has written for numerous New Zealand dance productions and is the singer-songwriter in the rock band Motorcade, but here he collects 23 discreet, mostly electronic pieces which utilise backward tapes, bubbling electronica, distant voices, subtle beats, prepared piano, odd instrumentation and so on.

These self-contained musical pieces (some as short as a minute, others stretching towards six and seven minutes) bring to mind the more experimental work of Arthur Russell, the ambient work of Brian Eno, German groups like Cluster, and the "fourth world" music of Jon Hassell.

Stories aren't so much told here as suggested (that is in the nature of their origins I guess) but as a collection of pieces which had diverse original purposes this hangs together extremely well as a predominantly instrumental album to become immersed in.

The first of a series apparently. Good. I certainly look forward to more.

By Graham Reid, posted Mar 21, 2010 - Graham Reid review

"Blueprint Review"

Hooray for the second single from Melbourne's Eden Mulholland! Taken from the upcoming debut solo album Feed The Beast, "Blueprint" showcases Eden's knack of crafting some pretty catchy indie pop tunes. In fact, I'm impressed that his quality of work hasn't diminished while working on both Motocade and his own solo project.

As witnessed in the first single, Eden possesses a unique and chameleon-like pop voice that dynamically changes the feel of each and everyone one of his songs. This particular single has a very Foster the People kind of vibe, but I think that may come down to Eden's voice sounding vaguely similar to Mark Foster himself. - Indie Shuffle

"Feed The Beast Review"

As soon as I heard about Feed the Beast, debut solo foray of Motorcade’s mouth, Eden Mulholland, I was eager to get my hands on it. There comes a time in every young slave to the wage’s life where you’re forced to listen to music you really wouldn’t if you had a choice.

For me that time was my tenure as a customer service drone at a prominent fast food restaurant. During those dark times there were two tracks that shone through the pre-autotune sludge that was pop; Motorcade’s Bomb Squad and My Friends.

For those of you, like me, who start the musical journey that is Feed the Beast, expecting Motorcade, you’re in for a surprise. Feed the Beast couldn’t be further removed from Motorcade’s signature hooky poppy rock sound. What Mulholland has crafted is an experimental, multilayered aural masterpiece that defies genre.

No two songs are the same in any sense. Each track appeals to a different sense of appreciation of musical aesthetics. The entire range of human emotion is touched upon over these twelve short tracks, illustrating the incredible talent of Mulholland.

Not immediately danceable in the Saturday night in town sense, these beautiful compositions would be the perfect soundtrack to a freestyle interpretive dance. People drunk in town on a Saturday probably wouldn’t get it anyway. There is great depth to this music, so many subtleties in the layers, so many feelings evoked.

Feed the Beast is available for download and streaming from Eden Mulholland’s Bandcamp (http://edenmulholland.bandcamp.com/). - Music.net.nz

"One of the most brilliantly eclectic indie pop albums of the year."

Eden Mulholland wears multiple musical hats - he's in the Mots with brothers Jol and Will, he's the driving force behind Motocade, and he composes music for dance and theatre shows. On debut solo album Feed the Beast he meshes his more rhythmical, dance composition leanings with a real knack for pop hooks, and comes up with one of the most brilliantly eclectic indie pop albums of the year. His instrumental prowess is clear, with a beautiful lonesome piano part among the guitar ostinato on Supermarket Blues, while the piano solo on Where is My Jealousy has a deep propulsive pull. Early single I Will Echo is a joyous pop sing-along, and frenetic, spiralling, Body Double with its layers of pulsating synths, and vocoder vocals, is infectiously groovy.

Feed the Beast is a poignant 90-second showcase of vocal harmonies, and lyrical focus, which gives way to the intense, careening, industrial hip-hop beats of Beside Itself, complete with heady rap-style vocals. Mulholland's pure, vulnerable falsetto on Supermarket Blues and black-humoured Such a Shame You Must Die is an impressive contrast to the lower, knowing tones of Body Double or Mekong Delta, and more childlike verses of Blueprint. - New Zealand Herald


Known for composing award-winning film scores and fronting Auckland four-piece Motocade, the multi-talented Eden Mulholland releases his solo debut with more experience behind him than most. It shows. From the very first track Mulholland displays an almost nonchalant mastery of the pop art, toying with his impressive vocal range and testing the boundaries of composition. These songs are based around theatre and dance tracks, yet there’s simply not a dull moment to be found. From the dazzlingly euphoric choruses of the first and last songs, to the distinctive ’60s feel in Homework and a smart change of pace in Body Fight Time, this EP is stunningly crafted to make you sit up and listen. Self-recorded, it was mixed and mastered by Olly Harmer. Despite this release being under his name, all tracks have the backing of a full band, with subtle effects and excellent production adding to the experimental indie feel. - NZ Musician


A wee while back I happened upon, or was sent, the new single Shanty Town from ex Motocade front man Eden Mullholland and, I hate to sound so surprised, but I couldn’t quite believe my ears how great it was. There was a sense about it that somehow managed to feel both modest and underplayed as well as expansive and epic.

Now Eden has sent me the whole EP and I can confirm that this new feeling was not by pure chance – you don’t get five tracks in a row this good by accident – and at the risk of sounding a tad patronizing, it sounds to me that the man has finally found his voice with these songs.

Track Picks
Shanty Town – the single; electro tinged and artfully understated
Body Fight Time – Eden hits falsetto notes perfectly and, quite honestly, beautifully. Back-tracked vocal effects interpolate adding to the eerie goodness of this song
Shipwrecker – a truly massive tune. - Cheeseonetoast.co.nz


'Jesus Don't You Get My Jokes' is the first solo studio release from Melbourne-based Eden Mulholland, who also doubles as singer and guitarist for New Zealand band Motocade. I recently saw a live showcase from Mulholland and while I enjoyed what I heard there, I was happy to have the opportunity to sit down and listen properly to his music without distraction.

In just a 5-track EP, Mulholland has managed to cover a fairly vast musical landscape. The one constant that ties all the songs together is the use of various electronic sounds; yet, I wouldn't describe the EP as "electronic music".

Shanty Town kicks of the EP with a simple guitar riff, but it soon gives way to layers of drums, bongos, synthesisers, and Mulholland's soaring vocals. The title track follows, taking things in the opposite direction. It's a haunting song with little more than an acoustic guitar, some delicate chiming sounds, and almost spoken-word vocals; however, Jesus Don't You Get My Jokes still has just as much power as the opening track.

The following tracks have the same kind of diversity, yet the EP still sounds very cohesive. While some artists may try to attempt this sort of variety and end up with messy and confusing record, Mulholland find success is every genre he traverses. - TheDwarf.com.au

"EDEN MULHOLLAND- Jesus Don’t You Get My Jokes"

Lead singer of the popular band Motorcade Eden Mulholland, puts himself on the map with his most recent solo release Jesus Don’t You Get My Jokes. Coming from a less conventional musical past, Mulholland comes from a contempory dance and theatre background. “Here you will find music that has until now only existed as part of a live theatre performance – some of it was only played once….. So I guess its time for it to see the light of day.” His creations are utterly compelling, pushing the boundaries on conventional music standards. He’s a bit of a musical chameleon, with each song taking on it’s own flavor and character. With a sound similar to Radiohead or Cloud Control, Mulholland is hard to file under any genre. As he calls it, “experimental filmic mind bending orchestral weird pop.” This can be a bit too prominent in parts however, with songs not having a definite structure to them. But, with this solo release, Mulholland has a very strong future ahead of him.


LIAM AULICIEMS - Deerhead Press

"EP REVIEW: Eden Mulholland"

This little collection from Motocade frontman Eden Mulholland is an exercise in sparseness and the love of precision in choosing the right arrangements.

Mulholland’s versatile voice is a lifeline through an understated, intimate wilderness as bare and eerie as Scandinavian winter. There are similarities to Motocade in the cloppy, percussive riffs, pads and samples, but there’s more space and it’s rawer and more challenging – and all the better for it.

Body Fight Time – sung in a fragile falsetto – is reminiscent of Losing Myself, the collaboration between Fleet Foxes’ Robin Pecknold and Ed Droste from Grizzly Bear, its peeled-open self-exploration almost uncomfortable to hear. Although the mid-section of the song feels like a misstep — the move into electric guitar territory from the bareness of acoustic and voice is an unexpected banality — this song remains a standout.

Closer Shipwrecker is a return to conventional songwriting, but it’s lifted from dullness by that falsetto again. In its cold ocean-themed grandeur, it feels like every instrument is playing to one another from corners of a great hall. Neo-masculinity, they call it — here’s hoping the trend sticks. - Offstreetpress

"Eden Mulholland Jesus dont you get my Jokes EP review"

Whilst his name may not immediately ring a bell, Eden Mulholland hasn't just magically appeared out of nowhere. That is definitely not to say that his music has only just recently become noticeable. Rather that he has been on the scene of a more understated genre, as a composer for theatre and dance productions. Since 2000, Eden has created numerous scores for leading contemporary dance choreographers and won the “Best Music” award in 2008 and 2009 at the Tempo Festival (annual dance festival presented by The New Zealand Dance Festival Trust). Eden is also the front band for Motocade whose track "Holy Moly" may jog your memory.
His first solo studio EP, Jesus Don’t You Get My Jokes, is an instrumentally rich album. It reminds me a bit of Lisa Mitchel’s music - if she was to suddenly be struck by a bolt of melancholic lighting. "Body Fight Time" is undoubtedly my favourite track. Eden’s vocals display immense control and delicate tone that still resonates with strength and a solid sound - it’s enough to give you major goosebumps. The best part about the track is it’s unpredictable nature, just when you think you’re in for an Imogen Heap type song the guitar and drums kicks things up a few notches and you’ve entered the world of upbeat folk rock.
Other tracks such as "Shanty Town" and "Homework" contain poetic lyrics and mesmerising melodies. Clearly Eden has natural instinct and the experience required to create tracks that are layered without being too busy and poignant without being emotionally trite.
Review Score: 9.2 out of 10 - The AU Review

"Triple J Song review"

Shanty Town
rating: 4/5
I really like this tune and what a range voice wise you have eden. I hear you can dance too ! - man of many talents up his sleeve here
Rosie Beaton. Triple J - Triple J Unearthed

"Feed The Beast Album 4/5 stars Review"

With layered, creative production that doesn’t lose its way, electronic programming, and mixing peat poetry with rhythmic loop trickery and melody, this album creates a world of sound and structure from Mulholland’s creative beast.
The album subverts pop expectation yet manages to feel cohesive. Taking from contemporary indie music, it gives an unexpected touch to riffs and arrangements, piano and a curiously detailed synthesiser appears against hypnotising drums and textured vocal.
The alt-pop poems Mulholland transposes contain vital components of a successful album with interesting and mature content, satisfying and resolved sound and tracks that intrigue. - Sydney Morning Herald

"EDEN MULHOLLAND: Music For Dance"

One might reasonably expect a soundtrack for dance performance to be dominated by rhythm elements, but this is not necessarily true of Eden Mulholland’s collection of comissioned works. There are sombre string sections, lonesome loser ditties and raw pop nuggets rounding out a decade worth of composition. The Motocade singer is a former dancer himself, so would have appreciation for the nuance of the choreographer’s art. A variety of instruments are pressed into service from harpsichord and marimba to bodhran and industrial scrapings. Refreshingly idiosyncratic, the music benefits from being framed by the theatre. Mulholland gets to exercise his experimental muscle without having to make any concession to radio playability or commercial appeal, though without the choreography one sometimes feels cut adrift from the context of the work. Nestled amongst the atmospheric sound collages (Scan Duet is a particularly poignant reverb drenched guitar sketch) are more or less straight sing songs: Cardboard Cutouts could almost be a lost Joy Division single, while Jumping Jack channels Leonard Cohen. The CD works as a standalone presentation and Mulholland proves himself a versatile and intriguing talent - NZ Musician

"Hunted Haunted Album Review"

Eden Mulholland
Hunted Haunted
New Zealand is currently blessed with some great pop charmers who play by a different set of composityional rules. The sparkle of a Grayson Gilmour, Liam Finn or Joel and his brother Eden Mulholland is hidden in twisted melodies and innovative arrangments. On his second album, Hunted Haunted, Mulholland is again dynamically adventurous in a musically fuzzy logic way where he superby balances his emotions and vocal range on songs such River Of Hurt, The New Old Fashioned and Utopia in a follow me if you can kind of way. The title of the album Hunted Haunted might suggest a sense of self-doubt but musically it's too full of life and energy to be anything but celebratory. It's the audio equavalent to a Cirque de Soleil performance – intriguing, spectacular and full of wow moments.

Mike Alexander - Sunday Star Times


2015:  Hunted Haunted (NZ Aug 28 - AUS Oct 23)
2013:  Feed The Beast
2012:  Jesus Don't You Get My Jokes
2011:  Carnival Hound, Tent, Body / Fight / Time, Hand to Hand, Stark, Weather Vain People

2010:  Music For Dance




When reviewing Eden Mulholland's music a certain peculiarity of composition stands out, and that is his refusal or inability to be restrained by genre. Whether writing an anthemic lullaby such as "The Big Empty" for his band Motocade (2010) or the hauntingly aggressive “The Virus" for the dance work “Body Fight Time" (2012), or the tender yet manic "Body Fight Time" on his aptly named EP, "Jesus Don't You Get My Jokes", the juxtaposition of disparate entities seems to come naturally to him. This makes for a filmic quality to much of his music and it comes as no surprise that he is equally at home composing for dance or film as he is for his band and solo work.

In his music, as in life, anything goes. Sadness can be uplifting, desire be as impassive as a rock and memories be as suddenly vivid as the monitor lizards he occasionally sees on his runs up the hill behind his house. If all this sounds poetic then the cap fits. Even his take on pop music involves unexpected arrivals and departures, conventional and operatic voices, ripped apart rhythms and ethereal bridges, solidly resounding hooks and moody ascents.

It's a compositional approach that is enough, as one reviewer said in reference to his "Jesus Don't You Get My Jokes" EP, "to give you major goosebumps". But this goosebump inducing element, similar to 'duende' in flamenco music or or 'wairua' in Maori composition, also yields pop's signature 'earworms' as evidenced in songs such as "I will Echo" from his "Feed the Beast" album (2013), or "Holy Moly” from his Motocade album "Tightrope Highway" (2009), songs that enjoyed radio and video impact and longevity. Consequently his artistic reach embraces both a longstanding loyal niche following as well as commercial recognition.

Eden is no stranger to touring and his live performances are equal to the task of delivering the epic yet intimate qualities of his songs. A gifted multi-instrumentalist, digital artist and vocals freedom fighter, he is known for his generous and uninhibited delivery, whether performing solo or with his bands. And he carries these student of life qualities into the studio where that preparedness to let rip and let go, and be open to new perspectives on his songs, stand his recording collaborations in good stead.

This certainly was the case with the production of his new album, "Hunted Haunted" which, as the title suggests, features songs that are variously on the run and according to Eden, needed some grooming or training touches to harness their strengths. He found the perfect collaboration working with producer, Victor Van Vugt (Nick Cave, PJ Harvey) together with recording engineer, Neil Baldock (Neil Finn, Sarah Blasko, Crowded House). Working with a producer for the first time was exciting and challenging. "I had to loosen the reins of my default songwriting settings," he says, "and that could only happen if I recognised I had them in the first place. Victor’s input played a pivotal role in drawing out more groove in the songs, encouraging me to let the melody soar over the instrumentation rather than competing with other elements that were all striving for the lead."

Eden spent two weeks in New York with Victor in pre-production, carefully refining each song. During that time, their work was backgrounded by the thrum of New York's packed-in humanity, noisy subway cars, and the sense that each person and scene has been stolen from a TV show. As they wandered the neighbourhood talking about music, life, and the universe, the sounds of New York's urgency and vitality became a driving force behind their work at Victor's West Village studio, and a key to the cohesive drive of the album.

Later in LA he worked with Neil Baldock to track the album and a further "grooming" of his songs took place. It was an engineering process that Eden describes as brilliantly chaotic. "Neil's quest for sonic perfection comes by way of denying the need for sleep and shutting out the outside world." Aided by the virtuoso drumming of Nick Gaffaney (Caro Knife Fight) the recording period went by in a blur of Mexican food, tequila, excess and exuberance. It was a "sleep-deprived joyous collaboration" which left its mark on each and every Hunted Haunted song.

For an artist who instinctively puts things together that don't at first glance belong, it is fitting that there is a wild quality to the playing and vocal delivery of Hunted Haunted. These songs, whatever their haunted or hunted lyrical bent, run out of the gates with what Eden admits is a "a shamelessly poignant lust for life."

Band Members