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In the 1980s, Michael Morley helped to push the jangly New Zealand music scene towards rougher, more exploratory realms, as a member of Wreck Small Speakers on Expensive Stereos, The Weeds, and the almighty Dead C. His gnarled, distorted guitar tone and aggressively moan-based vocal style are both as distinctive as they are secretly beautiful.Morley has released dozens of solo recordings-starting in the late 1980s as Gate, then more recently under his own name, and as the Righteous Yeah. He's also unafraid to tackle entirely new genres and sounds, and to move into interactive installation-based music as well. Birdman is beyond excited to present the first vinyl release of this archival Gate release."... I think it is classic Gate material. The idea of the palette is fascinating as I think I did approach it with a set of limited instrumentation and the desire to make something again that could sound like rock music. There is certainly a direct line from Wreck Small Speakers On Expensive Stereos, through the Dead C, and to Gate. I think I was also inspired by listening to [infamous and tragically short-lived early 1980s band] the Double Happys, and remembering their performances as a duo with the drum machine. There was such utter chaos and anarchy during their sets, with a desire to represent punk rock at it's nascent truth, I wanted to see if it was possible to re- imagine that feeling. I was possibly also listening to the Stooges and MC5. -Michael Morley
In the 1980s, Michael Morley helped to push the jangly New Zealand music scene towards rougher, more exploratory realms, as a member of Wreck Small Speakers on Expensive Stereos, The Weeds, and the almighty Dead C. His gnarled, distorted guitar tone and aggressively moan-based vocal style are both as distinctive as they are secretly beautiful.Morley has released dozens of solo recordings-starting in the late 1980s as Gate, then more recently under his own name, and as the Righteous Yeah. He's also unafraid to tackle entirely new genres and sounds, and to move into interactive installation-based music as well. Birdman is beyond excited to present the first vinyl release of this archival Gate release."... I think it is classic Gate material. The idea of the palette is fascinating as I think I did approach it with a set of limited instrumentation and the desire to make something again that could sound like rock music. There is certainly a direct line from Wreck Small Speakers On Expensive Stereos, through the Dead C, and to Gate. I think I was also inspired by listening to [infamous and tragically short-lived early 1980s band] the Double Happys, and remembering their performances as a duo with the drum machine. There was such utter chaos and anarchy during their sets, with a desire to represent punk rock at it's nascent truth, I wanted to see if it was possible to re- imagine that feeling. I was possibly also listening to the Stooges and MC5. -Michael Morley
607287013114

Details

Format: Vinyl
Label: BIRDMAN
Rel. Date: 06/23/2023
UPC: 607287013114

Numbers
Artist: Gate
Format: Vinyl
New: Available $22.98
Wish

Formats and Editions

DISC: 1

1. All of My Family
2. Mountains
3. Stars Keep
4. Land
5. Clouds Again
6. Film Envy

More Info:

In the 1980s, Michael Morley helped to push the jangly New Zealand music scene towards rougher, more exploratory realms, as a member of Wreck Small Speakers on Expensive Stereos, The Weeds, and the almighty Dead C. His gnarled, distorted guitar tone and aggressively moan-based vocal style are both as distinctive as they are secretly beautiful.Morley has released dozens of solo recordings-starting in the late 1980s as Gate, then more recently under his own name, and as the Righteous Yeah. He's also unafraid to tackle entirely new genres and sounds, and to move into interactive installation-based music as well. Birdman is beyond excited to present the first vinyl release of this archival Gate release."... I think it is classic Gate material. The idea of the palette is fascinating as I think I did approach it with a set of limited instrumentation and the desire to make something again that could sound like rock music. There is certainly a direct line from Wreck Small Speakers On Expensive Stereos, through the Dead C, and to Gate. I think I was also inspired by listening to [infamous and tragically short-lived early 1980s band] the Double Happys, and remembering their performances as a duo with the drum machine. There was such utter chaos and anarchy during their sets, with a desire to represent punk rock at it's nascent truth, I wanted to see if it was possible to re- imagine that feeling. I was possibly also listening to the Stooges and MC5. -Michael Morley


        
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