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Faster Louder Album Review

Completely lost for words ver this review. Thank you Tian and FasterLouder.

 

Faster Louder Review

 

In a mere twenty-eight days, Hunz has managed to do what some bands take months or even years to accomplish, and which some only dream of. Created as part of the RPM Challenge, Thoughts That Move is a beautifully crafted collection of ten songs, which shows musicianship that far exceeds its short gestation period. The music is intricate and enigmatic, occupying that very small space where ambient, electronic, drum ‘n’ bass, and R&B overlap – a place where only a select superb few (Radiohead/Thom Yorke and Gotye spring to mind) have dared to venture.

 

The album opens with Hunz’s beautiful voice in It’s So Light, followed by Soon Soon, which employs one of the catchiest electronic drum beats since Radiohead’s Idioteque. Upbeat, R&B-infused songs, The Messenger and You Said Hello have such groovy beats and pop-tastic melodies that they are sure to make you want to bop along. These are contrasted with slower tracks like Car In The Meadow and Switch Off which have soaring vocals and Sigur-Ros-style ambience. Overall, the album is entirely cohesive (owing to its short production span) and takes the listener on a wonderful journey of catchy beats, sublime vocals and cascades of electronic noise and loops. God may have created the universe in seven days, but I think Hunz does a pretty good job with Thoughts That Move in twenty-eight.

 

You can read the whole review here : FasterLouder.com

 

4zzz Cd launch Review

Thank you 4zzz for the lovely review of my cd launch.  It’s really funny and hits me in all the right spots.  I will work hard on trying to start a rival fight with some ultra awesome band.  If you don’t know what I’m saying you must read it.  Thank you Josh.

 

4zzz Launch Review

 

The turn out is a little thin when Dot.AY takes the stage, but this doesn’t stop Alex from throwing himself around his collection of gameboys, samplers and particle accelerators. The Troub is far from the ideal venue for his electronic assault but he puts on a good show regardless.

The last time I saw Toy Balloon they were a two-piece, but there are four people on stage tonight. This means that somehow the toy balloons have doubled in number in just a year. If this rate of expansion continues then by the year 2020 Toy Balloon will have 4 069 members. The mind boggles at the implications of a Toy Balloon army filling the streets with a delicious blend of cowbell laced New Order style indie dance beats. I for one will welcome the dawn of this new vocoder and synth soaked utopian era.

 

Hunz takes the stage with his trademark humility that is strangely incongruent with the epic electronic wall of sound that he unleashes. Aided by an impressive rhythm section, the trio produce rich and luscious soundscapes that sound like the soundtrack to the greatest science fiction film never made. The setlist tonight is lifted from Hunz’s brand new album ‘Thoughts that Move’ which is all the more impressive for having been written and recorded in a mere 28 days, just enough time for most rock stars to go through rehab. Hunz has been causing more excitement in the local scene than Justin Timberlake in a high school girls locker room, and its no surprise that more than half the punters here tonight feature in some of Brisbane’s best bands.

 

The only real question here is why the troub isn’t packed to the rafters with the usual army of hipsters that swarm the gigs of local buzz bands. The only plausible explanation that this psuedomusojounro can come up with is that Hunz doesn’t wear enough ridiculous indie hipster outfits that seem to make the punters slaver. Perhaps Hunz should mimic the outfits from look at this fucking hipster.com. My other suggestion would be that he needs to start a rivalry with another local band to raise his profile. What about Yves Klein Blue? They’re pretty scrawny, and their jeans are tight enough to drastically restrict mobility in a street fight.

 

But I digress. Hunz delivers in spades tonight. Replicating the complex, layered compositions from ‘thoughts that move’ (available for free from his website) is no mean task. However, the trio translate the soundscapes surprisingly well into a live context, throbbing synth bass lines and precise but powerful drumming form a hypnotic background to Hunz’s impressive vocals and synth symphonies.

 

Nine thumbs up.

 

By Josh Donellan

 

You can read the full review here : 4zzz review

 

Cd Launch Review – FasterLouder

This week will see some reviews of the show hit around the place. Plus some cd reviews as well. It is always such a nervous time because you hope people understand how you communicate your emotions across. If this review is anything to go by then I think I am being understood. Thank you so much, very “wow”.

 

Faster Louder Review

 

. . . . Hunz are, quite simply, amazing. Not only did this band create a sublime album in the space of a month, but they also have the live show to back it up. From the moment Hans van Vliet sings his first note, the audience are completely enchanted. Tonight the band launches their new album, Thoughts That Move, which rivals Gotye’s Like Drawing Blood in my books. (A big claim, I know. You can download it for free from the band’s website and decide for yourself.) Vliet’s laptop combines with careful bass and drums to produce an ambient sonic landscape, over which his luscious vocals soar.

 

While the band plays a mix of songs from the old and new albums, it is new songs like Soon Soon, with its repetitive drum beat and You Said Hello with its catchy melody that really stand out. From the previous album, the groovy Beg is clearly a favourite, as is the heartbreakingly delicate Draw the Line. The band finishes with the haunting Switch Off, leaving the audience spellbound. I don’t think there is a single person in the room who isn’t in awe of Hunz by the end of the set and I feel privileged to have been one of the first to see these beautiful songs performed live.

 

You can read the whole review here : FasterLouder.com

 

Some great post worth reading . .

Here are some post that happened around the same time I launch the cd and got lost in the noise T_T. Thank you so much to the reviewers and random fans that just write up about me. I continue to be humbled by everyone’s passion for the music. Thanks.
 

The Quiet Revolution – Mmd

 

Yet another little trip up to Brisbane over the weekend saw us catch Hunz at The Globe on Friday night. A little tired from traveling all day we found sitting through the support bands a little bit of a challenge – the PA was just way too loud for my fragile ears and the bands were performing music that wasn’t really my sort of thing. It must have been late, possibly quarter to midnight that Hunz with his lappy, mics and keys, plus his bandmates Phil Evans on bass & Richie Young on drums, delivered a shortish set for over 30 minutes.

 

Playing only songs from the album When Victims Fight the band delivered enhanced versions of the songs with live intensity and genuine emotion, all which came across most enjoyable and beyond expectation. Going off my limited knowledge of their YouTube posted performances, it seems that the band is quite tight and Hunz has embellished the songs with live keyboard, extra melodies and effective ‘tape loop’ style self-sampling of his vocals to perform lovely weaving auto-choruses and builds. There were many moments when I though ‘this is all better than the CD, especially the strength in Hunz’s voice’. It was a slight shame there were only 50+ odd people there to see all this – but I’m reminded of a time I saw Augie March playing beautiful music to a small and totally unresponsive Bistro Audience up at UNE in 2000 before they got very big on Triple J. Somehow, and I know it’s a cliche, I feel it’s the same for Hunz: that wide and appropriately deserving attention will befall this music one way or another. Good gigs leave you with this feeling. There are all too many acts out there that suffer from having too much style and not enough substance – but if you ever catch these guys play live you’ll see that there’s no such issue here. The music left us feeling both entertained as well as inspired.

 

What a motivator to keep on with my own music.

 

We met up with him after the set to have a quick chinwag. He told me that the Renoise XRNS files for the new album Thoughts That Move have been released, which you can read more about here. Oh yeah, and of course that means the album has gone fully public and the band will be performing the new songs at future gig dates (lucky for Brisbanites). As stated before, I’m excited for him and think that it’s a good sign of what is yet to emerge.

 

Read the whole thing here http://m.thequietrevolution.net/mmd/2009/05/25/hunzspirational/

 

 

Frodo’s Ghost

 

When I found that the electronic music at the end of Guttersnipe and Freesignal was done by their vocalist I endeavored to find out more. It took a while, but eventually I stumble across a web page that Hunz had set up with a bunch of songs : Broken Wings, Kemical, The Flame, Your Still Here, Face I Paint and a few more. That was all I had until, I don’t know how but I found out he had a webpage for a current project.

 

Further investigation and a few free downloads and I was hooked. So I waited a little because I wanted to get it digitally, but after holding out as long as I could, I figured I’d enjoy a real copy. (side: you can now purchase it online here).

 

Work was boring when I arrived, but finding the CD meant I took a break and changed the scenery. Down stairs to the lounge, put the CD into an impressive speaker system, then sit back and enjoy the first listen.

 

I love this part of music. Everything is foreign. Things change expectantly. Vocals appear through broken shards as the beats and bass push air from speakers. I hum, like I know where everything is heading, and stop because it is nothing like I thought. Its surprising and entertaining, and the music is fresh, like a cool breeze on a summers day.

 

When Victims Fight is like that, a fresh breeze – but more-so in the I’m in a dark room and I need some fresh air, kind of way. The melodys wind around the grubby beats intertwining in an elaborate and endearing way. The album has a way to set a mood and follow it through, the dissonance of the music never seems to resolve

 

The electronic sounds flare and click while the drums set an uneven beat in the verses. They seem to falter and stumble and it creates an upsetting mood. But when it falls into the chorus it all falls into place, driving beats combine with the atmospheric vocals to really capture the mind.

 

And on the vocals, I do specifically like the way Hunz uses his voice like an instrument – like the start of the track ‘Hearts On Fire’ – eerie and beautiful – it adds wonderful dimension to the overall sound, and it is something that I really enjoy too.

 

One reason why I was happy to buy the album is the artwork. Fantastic. I do love the real world objects like CD covers, for some reason getting the album online doesn’t cover that aspect of a purchase. Although it was just a cover, no slip, so it was limited, and a digital purchase would have done. But hey, I have a real copy, which is great.

 

Overall, I found When Victims Fight to be a CD that fits right when I need music to be right now. It is fresh, and creative. It is moving and captivating. I enjoy this CD and am looking forward to what is to come.

 

You can read the whole thing at http://frodosghost.com/2009/05/22/hunz-when-victims-fight/

 

Couriermail – BrizBands Blog

Found this one on the Courier mail webpage.  A big thank you to Candi for the wonderful write up.  I heart Kate bush and it was awesome that you could hear that in the music.  Yay!
 

BrizBands Blog

 

I got a heads up from someone about a gig at the Troubadour tonight and it was definitely a heads up worth sharing.

 

Hunz. The independent electronic artist from Brisbane is launching his second album, ‘Thoughts That Move’, and I’m loving what I’ve heard so far on his Myspace.

 

First of all, I should mention that this album took less than one month to complete. That is an incredible task. At the start of the year, over 2,200 bands entered the RPM Challenge; the challenge being they had to release an album of their own original work within the 28 days of February, and this is what Hunz wrote, recorded and produced. And it’s very impressive.

 

Hunz’s music has a disjointed, feel to it, but it’s not messy. His electronic sounds and vocals blend well together, forming an interesting and experimental style that touches on the creativity of Lamb, Radiohead and even Kate Bush, yet remains beautifully unique.

 

You can download the album for free at http://hunz.bandcamp.com/ and check him out tonight at The Troubadour.

 

Read the whole thing here : BrisBands Blog

 

“Who the bloody hell are they” like me.

Over the next few days I’ll draw your attention to some amazing posts that have happened since releasing the album, eeeeee. A big “thank you” to who the bloody hell are they.
 

Hunz is an electronic musician from Brisbane who recently recorded his second album in unusual circumstances – he took part in the RPM Challenge that asked over 2200 international artists to write, record, perform and produce an entire album during the month of February 2009. The fruits of that challenge have recently been made available to download for free and there’s some killer tracks on there. My favourite is ‘Soon, Soon,’ which combines industrial-inspired beats with a soaring falsetto reminiscent of Radiohead’s ‘Nude’ and harmonies that recall parts of Gotye’s last effort. Like Gotye, Hunz releases music under a one-word psuedonym (crazy, huh?) and combines elements of schizophrenic production with earnest singer-songwriter tendancies. I prefer the songs where the former wins over and enjoy the way his sweet, high voice rubs against the harsher elements of the arrangement but for those who prefer their music less glitchy and full of ‘beeps’ there’s some fairly straight-up compositions.
 

‘Soon, Soon’ is rad – especially impressive given the contracted gestation period. Kudos to Hunz.
 

who the bloody hell are they
 

Richard Kingsmill Review

So I was told about this link today and I was completely nervous about clicking on it. This guy, Richard Kingsmill, has such great taste in music and has helped shape Australian music into the wonderful thing it is today. I’m not going to say anything :D
 

Richard Kingsmill Review
 

What a great journey we are on people. Thanks Richard.
 

Cd Review and Feature on Tokafi

My Cd is being Featured and has been Reviewed at Tokafi. Thank you guys, it’s a beautiful review that I feel humbled by. Thank you.

Tokafi – ‘When Victims Fight’ Cd Review

Unegoistic pleasures: A hypnotically crafted rhythm of verse and chorus.

Pop music must surely be the most egoistic genre out there. Always written in the first person, it deals with nothing but the individual’s solipsistic fears, loathings, hopes and triumphs – quite obviously, there is nothing altruistic in a sentence like “I love you”. Browsing through the liner notes of “When Victims fight”, you suspect the same mechanism at work here: “I’ve always written my music as a means to deal with my feelings”, Hunz says and you already brace yourself for another 40 minutes of acoustic auto-therapy.

Nothing could be more wrong, though. The release of this album, after all, was in fact rather the product of continous demand from friends than of a man looking for immanent stardom. Anachronistic pleasures, I say: In times when everybody seems confident enough to have something to say to the masses, the idea that someone should be penning songs just for the joy of creating seems just as bewildering and outdated as it sounds sympathetic and encouraging.

You can hear it in the music, too. It is amazing what a liberating absence of expectations can do. The bass drums, hihats and snares on “When Victims Fight” click and cut and shred and stutter, rattlesnaking futuristically into the 21st century, but underneath the completely up-to-date digital polish, a hurt heart beats passionately for the urban solitude of the 80s. Anything but mere retro-exercises, meanwhile, the slow-grooving pieces among these ten tracks drift dreamily on pensive chime-themes and swelling string pads, riding plaintive harmonic loops to their inevitably relentless final destination.

In the pumping high-voltage sections, such as angry anthem “Beg”, Hunz draws his energy from dry, pointed basses, razorsharp percussion and frantic Rhodes-pounding. “Tiny Pixels” surges forward on the wings of a nervous, morsecoded chord cluster, while opener “Who Knows” combines an anthemic acme with harsh drum rolls and doubtful lyrics (“When I find me, they’re gonna know what my secret is”). Music and singer seem to be caught in a constant quarrel over supremacy and direction: While the latter seems to find stability and focus in the soulful warmth of ballads like “All falls down”, the latter heads for a grand finale in the melodic and thematic centre of the album on the closing duo of “Rise” and “People”.

It is neither forced experimentation nor a complex concept which holds these emotionally bipolar pieces together but the simple, yet hypnotically crafted rhythm of verse and chorus, as well as a voice capable of expressing discreet ecstasy and uncliched pain. Thanks to this unpretentious approach, “When Victimes Fight” has turned out being about sharing and communicating rather than about navle-gazing. Hunz writes about his innermost personal feelings, but he allows his listeners to recognise themselves in the process. “Amazingly, dealing with my feelings seems to resonate with people”, he writes in the continuation of the lines notes, “if you have the same response, then this album is for you.” Against all odds, there is nothing egoistic about that at all.

TOBIAS FISCHER

Read it here

 

Amazing Live Review

Wow. This review speaks for itself but I feel so blessed that people are enjoying my shows. Thank you.

 

The Troubadour – 7th of Feb

In an uncharacteristic change from my last pilgrimage to the Troub, the crowd is very modest-sized tonight; this occurrence presumably caused by the majority of Brisbane’s gig-goers being at either Cold War Kids, Crystal Castles, The Streets or the freshly-reborn Wolfmother’s “secret” gig. However it doesn’t deter the incomparable Hunz from delivering another standout show; the haunting “down, down, fall down” sample barely fades when the furiously-swaying frontman summons a melange of Four Tet-like glitches before launching into another soaring, drawn-out chorus. The power trio dynamic is employed to full extent – I ‘ve already previously mentioned how impeccable the rhythm section is and how much beautiful, charging bottom end can be extracted from an unfashionable 5-string bass. Additionally, I’m now convinced that the band’s music is as much perfect pop as it is math-rock, Hunz’s Thom Yorke – meets – Chino Moreno voice and modified synth/laptop skills a joy to behold. Let’s just hope he can never change, as he sings.

Tonight’s wildly eclectic bill has plenty of room for no-nonsense, Radio Birdman-style vintage rock & roll, which Black Mustang serve up with gusto. Celebrating their 5th anniversary as a band, singer/guitarists Steve Foster and Dave Starr, four-string punisher Dan Charlton and drummer Joe Hemingway launch into prime head- and hip-shaking ramalama; the swaggering Reason To Love, _Suzie_’s tambourine-aided sex beat, _I’m Not Scared_’s defiant crunch and signature tune _The One_’s glam stomp and genius three-power chord riff get both boys and girls moving and grooving. Ordering us to keep dancing, the quartet churn out a visceral Led Zep-like break before employing plenty of Chris Walken-satisfying cowbell on thudding set closer Jimmy; I am again reminded that local rock music doesn’t get any better than this and that Black Mustang’s Between The Devil And The Blue Sea album is a definite must for the car stereo – and other settings.

Rounding off the night, My Fiction are just as spot-on with their indie-disco throb as Black Mustang are with their classic piledrivers. There’s plenty of Robert Smith theatrics in frontman *Eric Robinson*’s voice as the band charge through the muscular rhythms of single Go and the exuberant_Your Tokyo_; riding the ‘80s-leaning track of the criminally underrated Departure and VHS Or Beta (circa Night On Fire), the four-piece are as fun to watch as their skittering, frequently wah-augmented riffs are catchy. Caught up in the excitement, lead guitarist James Laubscher jumps off the stage and proceeds to attack his instrument on the dancefloor to the collective delight. The big gigs might have attracted the wider crowd, but everyone present here at the Troub tonight could not possibly have any complaints about a highly entertaining evening of quality local music at a majorly cool venue.

Read review at FasterLouder.com.au

Thanks again.

 

Rave Magazine Review

The Troubadour – Sat Jan 24

Disclaimer: this writer is proud to attest he hasn’t seen one crap show at The Troub. That said, the Australia Day weekend is reassuringly full of live music and bringing his art to the tassle-decorated stage is Brisbane’s own math-rock extraordinaire Hunz. Backed by a powerhouse rhythm section, the bearded soul man/laptop wizard gives a glimpse of what Pivot could have sounded like if Richard Pike sang conventional lyrics; his expansive range, in-song vocal loops and sheer passion make for one memorable opening slot.

No matter how tight they are, hometown boys Gladstone & Lochaber are unable to match Hunz’s impressive performance. Their reverb-drenched palette coming across as by-numbers Aussie rock with Perth slant (Gyroscope, Eskimo Joe etc), the quartet only really get flying on one Francophone number, albeit due to that song’s nod to The Stills’ glorious Retour A Vega.

Muse jamming with Sparks anyone? In lieu of pre-gig research, [ME] turn out to be my unexpected discovery of 2009. Ridiculously talented, the precocious Melbourne fourpiece do a much better job at pulling off the Queen sound than The Darkness ever did and generally make the latter collective sound like a bunch of amateurs; Freddy Mercury’s spirit would undoubtedly be smiling at the band’s vocal acrobatics while Brian May would approve of the guitarist’s supersonic tapping and sustain-laden riffs. Two words: epic win.

DENIS SEMCHENKO

Read it here