Triple D's presents

Aldous Harding

With Tiny Ruins (solo)

Saturday, October 5
6:30PM doors / 7:00PM show
All Ages
  • Price$18.00 - $21.00
TICKETS

Aldous Harding

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku puppet's gnashing grin. Her debut release with 4AD, Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside. Igniting interest with her eponymous debut album released just two years ago, Aldous Harding quickly became known for her charismatic combination of talent, tenacity and shrewd wit. The album drew attention and accolades from some of the most illustrious corners of the music industry, receiving 4 stars in MOJO and Uncut, while UK blog The 405 hailed her a “toweringly talented song writer”. Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of roles: chanteuse, folk singer and balladeer - all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every note, word and arrangement posed with intellect and inventiveness. Created in Parish’s hometown of Bristol, Party saw Harding depart her New Zealand base in the antipodes for an intensive two-week immersion in the studio. Articulating her ambitions for Party to Parish was a galvanizing process for Harding, met with stunning results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions from Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating command of her own songs. First single ‘Horizon’ is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth, as a reality. It's as if the gift of life is right here, with all its beauty and its limitations”, said NPR. ‘Imagining My Man’ commands an air of delicacy as Aldous explores the curiosity of a lover’s idiosyncrasies; steering listeners into a state of intense intimacy laced with hyperactive shots, dirgey saxophone and Harding’s aching voice. The track is one of two that Mike Hadreas lends his inimitably sultry vocals to, the other being the intimate Party closer ‘Swell Does The Skull’. ‘Blend’ sensitively ushers the mood of Harding’s flourishment throughout Party. Its opening lines a nod to the mood of Harding’s last record; sameness is quickly quashed with an electronic drumbeat and the announcement of AldousvHarding as an artist of stirring ambition and trajectory. The album’s eponymous single ‘Party’ harks to Aldous’ earlier work; delicately pulling at the threads of a seemingly late-night love affair. Again, it’s not long until the rug is pulled out, with a searing chorus - Harding’s electrifying vocal accompanied by a choir of women and waves of percussive bass clarinet - piercing the balloon of expectations around Harding's new record with effortless vigour. Renowned for the captivating state of possession she occupies in live performance, Aldous Harding has won crowds the world over playing alongside Deerhunter, Frankie Cosmos and Perfume Genius, as well as to hoards of eager crowds at SXSW, Festival Les Indisciplinées, Rolling Stone Weekender, Visions Festival, The Great Escape, Golden Plains and more. Aldous’ 2017 touring schedule spans Europe, the US and the United Kingdom for much of the year, with Green Man, End of the Road Festival, Latitude Festival, Nelsonville Music Festival and more on the horizon.

Tiny Ruins (solo)

A rare blend of eloquent lyrical craft and explorative musicianship, the songs of Tiny Ruins have been treasured by crowds and critics for almost a decade. Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop and ebullient psychedelia. Born in Bristol and raised in West Auckland, Fullbrook's debut LP Some Were Meant For Sea (2011) features her alone, and was quickly celebrated by radio playlists and blogs worldwide. The album’s clutch of “gorgeous vignettes” (BBC) put the artist on the map, and she took to the road from her home in New Zealand to tour extensively through the UK, Europe and North America – a passage repeated many times since. Second album Brightly Painted One earned more accolades, championed by the New York Times, NPR and David Lynch, and winning Best Alternative Album at the New Zealand Music Awards in 2014. “An album of quiet, devastating beauty,” wrote Pop Matters. The album saw Fullbrook join forces with producer Tom Healy, whom, alongside long-time tourmates bassist Cass Basil and drummer Alex Freer, Fullbrook has worked and toured with ever since. “...an album that both bruises the heart and lifts the soul...songwriting that demonstrates a novelist’s eye for detail.” — Uncut review of Brightly Painted One While spanning continents, Tiny Ruins became a sought after collaborator. A New York recording session culminated in the EP Hurtling Through (2015) with indie-rock legend Hamish Kilgour (The Clean), while 2016 single Dream Wave was recorded and produced by award-winning cult filmmaker and musician David Lynch: “A tranquil, pared-back track [with] a gradually rising sense of the macabre… very special indeed.” — The Line of Best Fit Building on the sparse minimalism and mesmerising songwriting of earlier releases, third album Olympic Girls comprises a taut and agile quiver of songs, dancing with explorative instrumentation and a pop sensibility that springs with life. “How much would you be willing to give?” Fullbrook asks point-blank in first single ‘How Much’, ahead of woozily discordant strings and a stomping neo-psychedelic rhythm. The lyric brims with imagery of supermarket breakdowns, lilos, snarks and silos while an anthemic guitar hook soars throughout. Not content to leave the song at a stable conclusion, a thumping ‘I am the Walrus’-esque bass outro propels the track boomerang-style back to a space of adroit experimentation. “I've heard Olympic Girls, and I had to pick my jaw up off the floor”, wrote Grant Smithies. “Clustered around more introspective passages typical of confessional singer-songwriters are gnarlier phrases that give her work its buzzy voltage: arresting visual images, weird associations, daisy-chains of telling detail.” A group renowned for their electric dynamic live on stage, Tiny Ruins have played stages in solo and varied group formations across countless cities and states with Sharon van Etten, Calexico, the Handsome Family and more. Following the release of Olympic Girls on Feb 1st 2019, the band will be touring throughout the UK, Europe, Australia & NZ. See Tour Dates. MOJO Review of Olympic Girls - ★★★★ UNCUT Review of Olympic Girls - 8/10 "Part of the charm of Olympic Girls lies in the layers of mystery in each song. Inspired by literature, science, nature and human experience, these mysteries lie waiting to be carefully unfolded…” God Is In the TV - 9/10 "An album confident in its vulnerability and luxuriating in a bigger sound." Loud & Quiet Review of Olympic Girls - 8/10 "… songs that change sound and mood during their duration, never meandering and always captivating.” BUST Review of Olympic Girls - 5/5 “… a deeper listen to these eleven tracks exposes a breadth of influences that spans decades.” - The Wire Review of Olympic Girls “She is always looking uneasily toward the next line, or moving toward mysticism. In sentimental contexts, she generates lines of wicked ambition.” — The New York Times “Fullbrook’s hushed yet forceful songs, packed with obsessives and resilient loners, demand your full attention.” — Q Magazine