.external-links-myspace {display:none;} RH&S Concerts Presents (Rum
and Humble + Spaceland Presents) Wed Sep 18 TWILIGHT ON THE PIER WITH
METHYL ETHYL SANTA MONICA PIER Ocean Ave. at Colorado Ave.SANTA
MONICA, CA, 90401 7:00 PM This event is all ages TWILIGHT ON THE PIER
2019 Website TWILIGHT ON THE PIER IS THE FREE WEEKLY MUSIC FESTIVAL AS
ICONIC AS THE PIER ITSELF. Now in it’s 35th consecutive year,
TWILIGHT CONTINUES THE LONG-standing tradition of celebrating emerging
and established artists and sounds from around the world. Featuring
art, an all new comedy stage, eats, wine and beer garden, games and
interactive activations. Whether you’re casual concert-goer or a
culture-seeker, TWILIGHT ON THE PIER HAS SOMETHING FOR EVERYONE. FREE
Wednesdays nights at the SANTA MONICA PIER thanks to these partners:
Lyft, Aperol, White Claw, KeVita, Boxed Water, Zico, Sweet Leaf Tea,
Boulevard Brewing Co., Fling Craft Cocktails. METHYL ETHYL Facebook
METHYL ETHEL BEGAN AS A PERSONAL CHALLENGE. I wanted to see if I could
write, record and release some music before the band I was in at the
time finished doing the same. I did and subsequently withdrew from
some close friends. Relationships were severed, I severed some even
closer ones. This all played out in such a public way, as it
invariably does, so I withdrew more. My first album Oh Inhuman
Spectacle became the ‘why me?/fuck you/sorry’ album that I wrote
as a confused coping mechanism. It helped and I enjoyed it. I
continued the introspective journaling with the follow-up, Everything
is Forgotten. For me, that album said ‘who cares? all your emotions
are irrational and meaningless anyway.’ This year, I found myself in
the same city, alone in a room tasked with writing an album to be
heard, not as an outlet for personal grievances. I decided to find
closure with Triage. The question this time around is ‘what is
important? What requires attention?’ I think It’s about living
with secrets. Secrets cause the problems. They call them white lies,
little things used to manipulate people for the greater good. It’s a
triage of truths to maintain an artifice. A poem by T.S Elliot that I
referenced on the first EP I recorded says it best; “To prepare a
face to meet the faces that you meet; There will be time to murder and
create, And time for all the works and days of hands That lift and
drop a question on your plate; Time for you and time for me, And time
yet for a hundred indecisions, And for a hundred visions and
revisions, Before the taking of a toast and tea.” Everyone is older,
people have moved on. I receive text messages from old friends looking
to reconnect. I have a masochistic social complex in so far as I enjoy
the company of others, but self-imposed solitude and exile are
exciting and useful to me. It’s like method acting, which isn’t
too far removed from the emotional memory I see people drawing upon
every day. I challenge the idea of friendship and trust. I think
because I am untrustworthy. At least I’m honest about that. Jake
Webb, 2018 “Is this real life?” sings METHYL ETHEL’s Jake Webb
on ‘Real Tight,’ the self- proclaimed “surrealist love song”
from his new album Triage. Over a propulsive rhythm and angular yet
euphoric guitars, the song folds in on itself as Jake acts out the
blurred edges of his dreams in vivid hues. “For as long as I’ve
made music I’ve also poured myself into the songs. But in pieces,
fragments. Like in dreams.” METHYL ETHEL HAS ALWAYS BEEN AN
EXPRESSION OF THE SUBCONSCIOUS. Born in the heat of the Australian
summer, the early recordings were built from the ground up in various
bedrooms and friends’ studios; the same spaces Jake returned to
for Triage, the third album in a triptych he started with Oh Inhuman
Spectacle (2015) and continued with Everything Is Forgotten (2017),
which was named Best Independent Album by AIR, the Australian
Independent Record Labels Association. Triage is like experiencing
youth as a fever dream. Drawing from experiences that have been erased
with time. As ever, the songs feel like “real life” even if their
author has put their authenticity into question in the past. “The
first couple of records I wrote from a personal experience, then
obscured it; that’s how I write songs”, he explains, “My go-to
thing is really to write about an abstract emotional experience while
being ultra-personal.” This delicate balance of internal revelations
played off against calculated ambiguity, has struck a nerve as
Jake’s lyrics are sung back at him by audiences around the globe.
They are precise enough to be authentic, and hazy enough to be
anyone's, a universality that is echoed when Jake touches on the
themes of Triage. "Its about people, love and relationships. Isn't
everything?" At the end of the Everything Is Forgotten album cycle,
Jake returned to Western Australia and to a routine of working in his
home studio from 9 to 5 every day. It was the same process that
birthed his earliest recorded works. “I got obsessed with a lot of
theory, essentially trying to discover how songs work,” he says.
This scholarly approach has resulted in a succinct record dripping in
aesthetics, as Jake subverts pop music across its many styles. ‘All
The Elements’ takes the ready-to- wear sonics of Everything Is
Forgotten and brings in a lumbering new wave groove. ‘Trip The
Mains’ has the fizzy thrill of The Cure’s ‘Let’s Go To Bed’
coupled with the melting synths of David Bowie’s ‘Ashes to
Ashes’. “I must admit I was only listening to ‘Scary Monsters’
and The Cure at that stage. All you have to do is put in some chimes
and make the 16th note hi-hat,” Jake explains. Keyboard-driven first
single ‘Scream Whole’ marries the incongruous, drawing from
Sibelius’ piano work, Venezuelan producer Arca, “I designed quite
a few of my own soft synth sounds across the album in a similar
way”, and rhythms that are a blend of “classic drum machines and
actual playing, so they hint at the 80's”. The aforementioned
‘Real Tight’ is so infectious that it takes several listens to
realise there isn’t a chorus. It is the same hypnotism that bred
‘Ubu’, the second single from Everything Is Forgotten, which hit
#4 in the 2017 triple j Hottest 100 and is now an ARIA accredited Gold
single. Across Triage, Jake draws from a love of soundtracks and the
process of “making songs big through composition, rather than
volume”. Magic runs throughout Triage, not in the spiritual sense,
but in the practical application; the process of making something
extremely difficult look easy, the practice of concealing your tracks
to maximise the shock and awe of the reveal. Practising magic tricks
is also how Jake and mixing engineer Marta Salogni spent the downtime
as they finished the album in London. “I recorded it all by myself
and I mixed it with Marta Salogni. It was probably the best
collaborative experience I’d ever had.” In clinical
terms, Triage is “the assignment of degrees of urgency to wounds
to decide the order of treatment of a large number of patients”, a
truly apt analogy for growing up, making a record, and making a record
about growing up. Jake perfectly articulates this parallel when he
summarises Triage as being “cold logic for warm bodies”. var
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