Hermitude
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Hermitude

Sydney, New South Wales, Australia | INDIE

Sydney, New South Wales, Australia | INDIE
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"Hermitude - Friday, December 10 2010 @ Northcote Social Club, Northcote"

“Hope you enjoy the show,” she said as I received a slapping stamp to the wrist, which in my opinion was overly soaked in the staining ink. Nevertheless, the Northcote Social Club’s bandroom is infamous for its sweaty power shows, so as I set up in the corner of what was a quickly filling room, I expected nothing less. After a long wait, Hermitude’s fans were reveling in the idea of a headlining show, and as we were soon to find out, so were they.

Perching myself up in the corner of the stage hoping to avoid flying elbows to the head, Dubs and El Gusto took the stage beginning with what I like to describe as, an insane epileptic drum machine fit. The crowd immediately switched into gear and it was from there that you knew you were about to smell a lot of body odour.

From Tales of the Drift; Nightfalls Mesenger and Can’t Stop, they all caused body convulsions to tremor through the crowd. From Threads; Slychain, Frayed and Cartridge Kings, they were reasons for hysteria, the bass pushing through and past the punching fists and jerking knees with physical force.

Until now we were all satisfied with hearing what we all knew and loved, however it was at the first inkling of Hermitude and Urthboy’s hit, “Your Call”, that the crowd nearly inserted their faces into the actual mixing decks.

My corner of solitude and welfare was no longer. People’s limbs were converging and flailing upon my camera; I was at the helm of a beat driven attack on the boys from the Blue Mountains… Marvelous.

After a short keyboard malfunction, which considering the hardware on stage was a minor hick-up, the boys got nostalgic with a few tracks from Alleys to Valleys, getting the long time fans to raise their hands in reminiscence. Followed by an extensive reggae dub, the boys announced their newest track, Get in My Life, giving us a taste of what’s to come from these two musical machinists.

The magic of Hermitude’s music in fact comes from the broad spectrum of styles they play. From a filthy dub-step, bass fest to an island getaway, reggae, jazz fused orgasm where the flow is literally seamless. So filled with minute details, the instrumental possibilities of this jungle/reggae/dub/hip hoppedy sound is endless and very exciting.

With lighters scattered over the top of the crowd, the boys went mobile toward the end of the show, El Gusto beating his samples and drums and Dubs running his hands up and down the keys. Friday night in the black of the NSC bandroom saw a filthy riot of electronic genius fueled by an anticipation and expectation which to say the least was more than fulfilled. - The Dwarf


"Hermitude - Threads"

The third album from local electronic producers Hermitude takes a subtle journey into down-tempo beats which cross the globe yet forge a coherent and distinctive blend with a local flavour. Down-tempo artists often run the risk of being relegated to enhancing the retail or café experience, as inoffensive and slightly eccentric touches of exotica blend together to fill the awkward gaps in the inner city void.

However Hermitude’s third album, aptly titled Threads, weaves together an enjoyable mix of beats and melodies that somewhat stray from their instrumental hip-hop roots. Tracks subtly shift from Caribbean-inspired dub, reggae, dancehall and perhaps even reggaeton, to bass-heavy minimal electronica, while returning to the almost mandatory vintage latin, jazz, and hip-hop beats and scratched up samples that loosely define this eclectic genre.

While guest appearances from Jamaican reggae star Luciano on “New People” overtly mark the Carribean influence on the album, Threads neatly drops funky hip hop beats and heavy dub basslines, mixing middle-eastern flavoured melodies together with enough breathing space for bleepy samples, best illustrated on tracks like “44 Gallon” and “Vector”.

Hermitude’s intelligent mix of synths, live instrumentation and sampling is awesome, the album has few, if any, low points, and they never really become preoccupied with the recreation of authentic exotica, a preoccupation that often ensnares other like-minded artists attempting a wide ranging blend of sounds and styles, usually ending up as boring modern musical mush. Threads is impressive, exciting and never dull, and even if it did still find its way to the inner-city café scene, it wouldn’t be such a bad thing. - Music Feeds


"Review: Hermitude - Hyperparadise"

To call this album ‘hotly anticipated’ would be to put it extremely mildly. Here at T.O.P we’ve been positively fiending on it’s arrival, virtually counting the days, as have been their now vast legion of loyal fans. The singles that have been drip fed out, ‘Get In My Life,’ ‘Speak Of The Devil,’ and just recently the title track ‘HyperParadise,’ have kept the jonesing at bay, but it’s finally time for the full dose. And what a dose! The guys have let loose on this album, fully going for it, something they’ve hinted at in the past, going way back to their remix of ‘Gusto’s Theme’ with Spikey Tee, and more recently ‘Cartridge Kings,’ from their last album, Threads. This is Hermitude:Unleashed. They’ve fully shed the the headnod, and gone for the jugular, more of a one arm in the air moshing out kind of affair, in the best possible way. For ample demonstration of my point, just check out their video of their live performance of ‘Get In My Life’ at Woodford, at the bottom of this post. Yup, that’s what I mean.

The opener, ‘Engage’ opens with some heavy drums and synth work, which wouldn’t sound out of place in a metal tune, but unlike the recent DJ Shadow tune ‘Border Crossing’ it doesn’t fully cross over to the dark side, which is quite appropriate given that on their earlier albums they also seemed to do Shadow better than Shadow. The metal analogy doesn’t stop there for me, with a gorgeous bridge with flamenco guitars and piano, which, for me, calls to mind Morbid Angel, a death metal act legendary for their beautiful atmospheric intros before launching headlong into grinding heaviness. Might just be me though! It’s a successful opener, making a statement that it’s Hermitude, but not as we know it, Jim.

The first single, going way back, ‘Get In My Life’ is up next, and boy does it rock hard, I’d have to say I reckon it’s one of their best tunes ever. It just cranks, but you probably already knew that. That lead synth line that kicks off around 1.20 is signature Dubs, a deceptively simple yet utterly effective bit of hook. He’s just got it like that, all the skills in the world, but so good at not over-complicating things, where a more simplistic approach works better. Gusto‘s cuts on it are pretty all time too. “Run the traaaaaaack!”

Up next is my pick of the album, ‘All Of You,’ with it’s killer sample, some blues man singing “hey baby baby, looks so good,” over a dope beat. It’s got bounce. When we put it on the T.O.P soundsystem pretty much everyone jumped up and started doing the zombie dance, all arms straight out, jerking around. As you do. It’s just that type of track, totally infectious. Maybe with the sample it’s tricky to release as a single, but it’d be my pick, maybe run a remix with a dirty south style rap, and it would kill.

Speaking of killer singles, their big one comes next, ‘Speak Of The Devil.’ It’s been a touch divisive, I’ve heard plenty of people deride it as pop, and complain about the vocal. But I don’t mind it at all, it is what it is, and I really like the main sample, apparently a hebrew choir, an unlikely source for a hit song if ever there was one. I’m not a massive fan of the vocal, by Chaos Emerald, (who also did the excellent artwork, along with Lucia Giuffre, Catherine McElhone & DH) but I don’t hate it either, it works in the context of the song. The big thing for me though, is that this tune has finally got the lads a big hit, something they thoroughly deserve, aided by the award winning video.

‘The Hunt’ is quite dark and mysterious-ish, akin to the likes of Mt Kimbie, all sloppy beats with propulsive synths, a cool descending high line, and some spooky sounds coming in and out of the mix, building to a crescendo.

‘Let You Go,’ is straight dope. Built around a re-pitched and stuttering vocal line, repeating the song title, with some really nice synth work, for some reason it calls to mind classic Orbital, an impression helped by the stuttering poly-rhythmical drum-break, which wouldn’t have sounded out of place on their album In-Sides.

The comes ‘Hermilude,’ which, as the name suggests, is a short but sweet interlude, with a cool spoken word piece talking about music corresponding to the soul of the listener. Righto.

The title track, and most recent single pops up next, with it’s semi-tropical sounding marimba, steel drum and hand-clap intro. Then the sub hits. Sub-tropical, if you will. The pitched vocal snatch is used as a melodic counter point, as some footwork sounding drums drop in. And so on. When I posted this originally, I compared it to the work of Rustie‘s recent work, and I stand by that. Only it’s better, much better.

‘The Villain’ drops next, and while this tune is a straight up club smasher, with some fat bass tones, and a cool staccato line that sounds like a distant cousin of Knightrider, it’s probably my least favourite to listen to in a chilled living room type environ. Don’t ask me why, it’s definitely a slick tune that’s gonna rock some floors, but it slightly aggravates me. Does get the head nodding pretty hard though, and there’s a perfectly chopped and placed slice of hiphop vox.

Then comes two more of my favourite tunes, ‘Sloucho Darx,’ and ‘Golden.’ The former utilizes a cool accapella, intoning “It’s the beat, beat, beat, Blare it in your jeep/I hear it in my sleep” in time to the tough as nails slowed down beat. I kinda hear it in my sleep now too. “It’s the real shit, the bad shit.” Certainly is. The latter is more of an up-tempo summery number, with a killer vocoder vocal singing about “Sun shine, in your eyes,” and another re-pitched vocal “Oh!” The thumping bass drives it along, with yet more tasteful lead synth lines. It’s slightly cheesy, in the best way. The middle 8 totally brings Spiderbait‘s classic ‘Glockenpop’ to mind.

The tempo drops back down for ‘Cloud City,’ seemingly their take on futurebeat, at least in the sense of being a good soundtrack tune for a sci-fi movie! It’s like Vangelis, only modern, and again, it brings to mind classic Orbital at the same time. It’s a lovely piece of music, almost classical sounding. Future-classical?

The closer is ‘Flood,’ with it’s “flows so pure, you can’t stay sober.” If beats as dope as these are the drug, I don’t wanna be sober, either.


All in all, it’s yet another quantum leap ahead for the lads, throwing off the shackles of head-nod for the greener pastures of the bass music miasma. To attempt to genre-classify it is completely pointless, just the way I like it. Dubs’ ability to find that perfect simple, yet effective melodic hook, putting his obvious virtuosity aside to serve the song, shows up throughout the record, and Gusto’s perfectly placed snatches of vocals, and obvious attention to the finer details of the sonic patchwork and arrangement, is a perfect mix. If there’s any justice, this album will be the one that finally launches them into the upper stratosphere of producers, both here and abroad. They’ve bloody earned it, and this is a damn fine statement of achievement. Cert IV? Nah, this some post graduate dissertation shit.

Buy it for yourself and see if you agree.

They’ll be touring to support the release in March, so check the dates for that, it’s bound to be killer. Word is they’re fully reconfiguring their already awesome show, so it’s gonna be some serious next level shizzle. - The Orange Press


"Hermitude - Threads"

Blue Mountains duo Hermitude have come along way since releasing their Imaginary Friends EP in 2002. For a start they’ve moved down the hill to base themselves in Sydney, as well as recording two outstanding albums and last year’s Rare Sightings EP. Their take on instrumental hip hop has earned them support slots alongside the likes of Rjd2, DJ Krush and Abstract Rude, but this new offering sees the boys make more use of vocalists than on previous records – and I for one am all for it.

Threads is a varied affair. It kicks off with the atmospheric and moody Bloodshot, a track that’s not miles away from something that Ninja Tune might release. As always, the beauty lies in the complexity, with samples, scratching and beats carefully layered underneath Dubs’ keys. 44 Gallons flirts with dubstep, while New People is a straight-up sun-drenched reggae stormer, featuring the vocals of dancehall legend Luciano. The Jamaican’s vocals are perfectly underpinned by Dubs’ light-hearted organ in a track sure to bring a smile to your face.

Exhale features Koolism frontman Hau, who has now officially dropped a verse for every hip-hop producer in Australia. This may well be his best work yet, with his typical fast and intricate rapping, over a head-nodding beat with a catchy as hell hook. I’ve never been a huge fan of Koolism, but every time Hau does a guest verse for someone it’s pure heat, and this track stands out as one of the best on an outstanding album. Frayed changes the pace right up and features the vocals of soul singer Steve Clisby, as well as some slide guitar. This is some gorgeously understated nu-soul, and it demonstrates just how versatile this talented duo is. Vector takes us back into familiar Hermitude territory – solid instrumental hip-hop. More surprising is Your Call, featuring the vocals of Elena Stone and Urthboy. What isn’t surprising is that it’s pure fire.

Threads is one of those rare albums with no tracks that you want to skip past. Coming hot on the heels of Horrorshow’s The Grey Space and the new Herd album, this album is yet another example of Elefant Traks coming through with the goods. Threads is almost certain to feature in top ten albums of 2008 lists. – Nuff said. Go buy it.

Check out the track listing:

1. Bloodshot
2. Slychain
3. 44 Gallons
4. New People (Featuring Luciano)
5. The River
6. Cartridge Kings
7. Exhale (Featuring Hau)
8. Frayed (Featuring Steve Clisby)
9. Vector
10. Your Call (Featuring Urthboy + Elana Stone)
11. Stepping Stones - Faster Louder


"Music Reviews: HyperParadise"

Sydney beat embroiders Hermitude come out all guns blazing on fourth record HyperParadise.

Opening salvo Engage lives up to its name with a big-beat assault of epic proportions. Things settle into more of typically fluid, future-hip hop groove on Get in My Life, surging with aquatic synths and sticky beats.

There’s clattering soul, funked-up electro-pop and wonky mashes of afro-latin action and glossy R&B aesthetics (check the title track). The one aspect it does lack is some downbeat and some downtime.

While this is a joyous, hyper-colour gesture, it would be great to hear such gifted producers tackle some darker, more contemplative terrains, if only for a moment of respite.

- Dan Rule - STACK


"Album Review: Hermitude 'Hyper Paradise'"

Since their debut release, Imaginary Friends in 2001, HERMITUDE have become synonymous with experimental grooves and futuristic beats. Seamlessly fusing electronica, hip hop and even world music, this wildly under-rated Blue Mountains duo (Angus Stuart and Luke Dubber) have time and time again proved themselves to be some of the most unpredictable, innovative and talented producers in the country. After a brief hiatus, the pair is back with their fourth LP, Hyper Paradise.

HERMITUDE’s latest album explores dimensions of both new and old-skool. Genre-hopping from the fat beats and glitchy, inter-stellar FX of ‘The Hunt’, to the calypso summer of the album’s title track, to the chilled out, downbeat, summer-y grooves of ‘Golden’, to banging electronic romper ‘The Villain’, this album shows Hermitude testing the depths of their musical palate.

Triple J listeners will have already enjoyed a taste of Hermitude’s latest work over the past few months. The albums second single ‘Speak of the Devil’ picked up regular rotation on the station last year, which no doubt left listeners nodding their heads and tapping their feet. The accompanying video attracted similar attention, capturing JJJ’s coveted ‘Australian Music Video of the Year Award’.
The most admirable thing about Hyper Paradise (and Hermitude at large) is the preparedness to take risks. Defying trends and ignoring hype, Hermitude are happy doing their own thing, using everything from samplers and synthesizers to kettle-drums and even the sounds of the jungle (see track eight).

Phenomenal percussion work is a constant throughout Hyper Paradise. Both Stuart and Dubber are highly accomplished instrumentalists and this shines through on their latest release. With occasional nods to RATATAT, DJ Shadow and even GLITCH MOB, HERMITUDE utilize their wide array of skills to create a sophisticated yet immensely listener friendly record.

Release date: Feb 3
Label: Elefant Traks

Words by Dominic Sciberras. - Purple Sneakers


"Do Believe the Hype"

Hermitude started out under the name Funk Injections, and their early material was definitely infused with medicinal funk. But their last album, Threads, branched out all over the place – reggae, electro, even dubstep. Luke Dubs joked that “We might do a medieval-classical-pop type mash-up next” and although HyperParadise isn’t that album, it makes you believe they have it in them. There are moments where HyperParadise sounds like Ratatat and moments where it sounds like The Prodigy, but I think this album is what I’ll be talking about in the future when I listen to something new and say, “This sounds like Hermitude.” You’ve got your get-up-and-dance stuff like Speak Of The Devil (the one with the brilliant video clip), but then you’ve got your relaxed and atmospheric stuff like The Hunt. Sloucho Darx sounds like the name of a character from 2000 AD but it’s a bleepy chiptune. The one I keep coming back to is The Villain, which maintains a stumbling beats that seems to almost be on the point of collapsing for its entire length, but never does. It’s outstanding – sounds like the theme song for a remake of Knight Rider where the car turns into a giant robot and has battles in space. Yep, if there next album was medieval-classical-pop I wouldn’t be surprised in the least.
****
JODY MACGREGOR - Rave Magazine


Discography

2002 - Imaginary Friends (vinyl only EP)
2003 - Alleys to Valleys
2005 - Tales of the Drift
2008 - Threads
2009 - Rare Sightings EP
2011 - Speak of the Devil single
2012 - HyperParadise
2013 - Parallel Paradise Remix (vinyl EP)

Photos

Bio

Hermitude have just been announced as the winner of the 2012 Australian Music Prize, the most prestigious award for music in Australia. It's a first for an electronic instrumental act that has long been dominated by rock and indie-pop acts.

Hermitude formed in 2001 - the Blue Mountains duo Luke Dubs (Luke Dubber) and Elgusto (Angus Stuart) have been prolific with 4 albums and 2 EPs. The offspring of professional musicians, they’d performed together in jazz and funk bands since their early teens.

Throughout the course of their work, they've found fans in The Presets, DJ Krush and the Glitch Mob. Their peers include Flume and Ta-Ku.

It's in the live domain that Hermitude are unmatched - with a audio visual show that doesn't rely on a lighting show - their live instrumentation is prodigious and captured by multiple cameras live to the audience. They don't settle on a laptop performance.

In 2012 Hermitude broke through with their award winning HyperParadise album. Lead single Speak of the Devil was licensed to Parlophone in the UK and Astralwerks in the USA. A follow-up remix from Flume is only just starting to make serious inroads internationall.

They signed a worldwide publishing deal with Sony/ATV and sold out every live show weeks in advance. They're now one of the most exciting and in demand live acts in Australia.