The story of Big Scary begins in 2006, when Melbourne duo Tom Iansek and Jo Syme, armed with just acoustic guitars and egg shakers, started playing songs together in the living room of Jo's parents' house. After a bit of a break, the two reconvened in 2008, this time with more instruments-electric guitars, drums, piano, mandolins and ukuleles-and a bolder, more expansive vision. What began as a few rainy day acoustic ballads in their first incarnation soon grew into an all-encompassing, genre-defying sound. Before long, the newly named Big Scary were writing anything they pleased-fuzzed-out garage rock; piano-led pop; intricate, pastoral instrumentals-each imbued with an effortless pop sensibility and lightness of touch that would quickly see the duo attract a strong following.

These gifts translated onto the stage where, from the outset, Big Scary proved themselves a remarkably fluid and compelling live act, capable of not only bringing their songs to life, but also of adapting their set to suit the moment.

In late 2008, the band headed into the studio for the first time, laying down six live tracks in a single day. Another quick-fire recording session soon after resulted in a four-track mini-EP, led by the towering single 'This Weight'. Featuring Iansek's huge distorted guitar and high-wire vocals backed by Syme's thumping drums, 'This Weight' quickly caught the ears of the press, who hailed this 'talented and fearless' new duo.

Inspired by a wave of severe weather that hit the country, Big Scary went on to release the six-track 'At The Mercy of The Elements' ep. Ranging from rousing, piano-led ballads ('Falling Away'), to thumping, distorted numbers ('Hey Somebody') and intricate, sonorous instrumentals ('At The Mercy of the Elements'), the ep was a full-to-bursting showcase of the duo's vital, dexterous sound. 'Thoroughly excellent,' raved The Australian. 'Packed with anxiety and bravado,' Beat said.

With a growing national profile, Big Scary embarked on a period of heavy touring, with a diverse list of supports that reflected the duo's eclectic output: The Vasco Era, Florence and the Machine, Midlake, Little Red, Editors. Soon enough the duo began headlining their own shows, first in their hometown of Melbourne and then all over the country.

Big Scary remain endlessly fascinated by the natural world. In 2010, the duo released four seasonally themed, limited-edition eps, which were eventually collected as The Big Scary Four Seasons. A rich, thrillingly diverse set of songs, The Four Seasons showcased Iansek and Syme's uncanny ability to translate the vagaries and glories of the elements into utterly compelling music.

'Four Seasons proves to be the defining turning point for Big Scary, for they are no longer the next best thing in Australian music, they are the best thing,' Beat Magazine said of the lp, while the AU Review hailed 'the versatility and obscene... talent of the players.'
A national tour followed, with the band playing to packed houses all over the country. Several months later, as the band began to ready their new album, 'Autumn', one of the standout tracks from the Four Seasons, was placed in a high-profile AT&T ad in the US, introducing the band to American audiences for the first time.

The vision for the new record came together on a small island farm, where Iansek and Syme holed up for several weeks after a run of successful summer festival shows, writing and demoing songs. 'We knew we had a lot of songs that we liked, but they were all so far from each other on the genre scale-super bratty garage, really poppy piano stuff, epic guitar songs, folky acoustic stuff,' Syme says. 'The album will still have elements of all that, but we've got some really strong tracks that we think tie it all together.'

Instead of painting themselves into a corner, on the new album Big Scary celebrate the diversity of their songwriting. 'We write songs with completely different feels and vibes,' Iansek says. 'In the studio, we thought that we should try not suppress this too much, and just roll with it.'
By their own admission, the two worked 'a lot harder' in putting together the new album material than they had before, re-writing parts and lyrics until they were satisfied. This process continued into the studio, where every sound was carefully considered and experimented with-often for hours at a time. Layers were added to some songs, while parts were culled from others, as Iansek and Syme sought to make each song 'as strong as it could possibly be.'
The new album, which is due in October, promises to be another startling document from a band whose only constant seems to be their capacity for invention, their desire to keep moving forward.

www.bigscary.net

Label page: Pieater



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NewVillager (pronounced, like: "Terwilliger"), is a Clinton Hill, NY, USA electropop trio, comprising: Ben Bromley, Ross Simonini and Collin Palmer. They débuted with the single "Rich Doors" (Jan 2009, Two Syllable) and their latest / début album is "NewVillager" (Jun 2011, IAmSound).

"... musical project of Ben Bromley and Ross Simonini, two multi-instrumentalists who remain friends. Goalball is a game designed for the blind, kind of like handball. A lot of good bands came out of the goalball scene back in '83, '85-the Sweetie Motions, the Sans Larrys-and NewVillager listened to all of them, mostly in Ross's car, a Karmann Ghia he bought from Ben's mom, against the wishes of Ben's dad. They formed the band to carry that torch forward, and started out playing low-level Goalball tournaments, rigged games in bad neighborhoods, but Goalball is supposed to be played in total silence, because the ball has bells on it. They should have known; it was a tough time for the two of them, tougher than most. The thing is, they listened, they soaked it up, the sound of that ball and its bells, and then they went into the woods and wrote a record. Everything matters, is the point, even when you're in the woods and your name implies isolated tribesmen and latter-day gay archetypes. It's like George Steiner says: 'Explorers' postulates about totally isolated tribes, about corners of tropical forest or mountain innocent of any contact with the outside are largely spurious. Good shivery stuff for the glossy magazines. How word sped across the barbed lines of mutually incomprehensible tongues, how iron utensils from the distant fringe stations came to be found in the inmost of the Mato Grosso, was something of a riddle. But the facts were certain. News could tear like invisible fire through thicket and across cataracts. You had only to listen and it came humming back.'" - Philadelphia Herald-Times

Sites: Discogs, MusicBrainz, YouTube, SoundCloud, Twitter, Facebook, MySpace and http://NewVillager.com (official)


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