LIVE REVIEW: TIGERMOTH Boney, Saturday August 23


Originally published in Inpress.

PBS presenter and DJ Bevin Campbell spins to an almost empty room, warming up Tigermoth’s vinyl launch with some dope underground hip-hop and future bass. Next up is Able8, Operatives producer and founder of Melbourne electronic label Uncomfortable Beats. Tonight’s set sees Able8 experimenting with bass and glitch-hop in front of a screen illustrating hilarious political parodies. Tony Abbott is the main star of the evening, with various caricatures depicting him in familiar situations: riding a bike, fucking a map of Australia, etc. The visuals become trippier and more ludicrous as the night progresses.

Amin Payne — future funk beatsmith and master of tasteful and groovy remixes — continues the beats feast. An avid admirer of Dilla, Payne’s beats are easily distinguished by their boom-bap percussion, jazzy samples and calculated synth arrangements. His music is incredibly clean and polished and his set tonight only verifies this. His funk remix of Kelis’ Trick Me is always a party-starter and by now, the room has accumulated an appropriate sized crowd.

Unlike the more melodic sets of his supports, Tigermoth delivers ambient psychedelic beatstrumentals, influenced immensely by Hendrix and eastern culture. Several years spent in Japan explains Tigermoth’s ardour for oriental music. He plays for almost 90 minutes, taking his audience on a trippy journey through Asian soundscapes. One minute we’re in a geisha house and the next, a Hindu wedding. His music is contemplative and colourful, a rich palette of foreign sounds and voices. After an hour, someone turns on the smoke machine, caking Boney’s top floor in a thick smog. Unperturbed by the blinding smoke, Tigermoth finishes strongly and thanks his audience. A unique producer and adorer of eastern instruments, his new LP Traversing Karma is a fruitful purchase for the more liberal listener.