There might be good reason you may not have heard of Sad City before now. Taking into account the dizzying amount of monikers he has paraded under (L.A., My Tiger, Ser and Estar, Cirprise Pascal?, Passenger, Andy Warhol’s 1966-1967 Multimedia Roadshow…and the list goes on – no, seriously, it does), the prolific Glasgow based producer, Gary Caruth, has somehow managed to remain relatively anonymous.
His name (as Sad City) first appeared on the wonderful Underwater Peoples Summertime Showcase comp (2009), with the uniquely surreal track Agua, resting comfortably along side the likes of Real Estate, Julian Lynch, Pill Wonder, and Ducktails. After being picked up by the blogosphere, there was little by way of a follow-up until he recently announced the release of Gestures, a four track EP, due out on Underwater Peoples this coming summer.
His show at Mono marks his first live performance in recent years, having opted to focus his attention on the production of his music before taking them to the live stage. And so, as the lights go down and a modest gathering of people settle themselves, the set gets underway.
First track, ‘Shell’ (or ‘Wash’), grows around a beautiful, warm and cinematic piano line which swells and washes forth from the sound system, as the sustained notes ring out and flow into the ensuing songs.
By manipulating each of the five-or-six tracks entirely through a laptop and midi controller, the music is seamlessly melded into one extended piece, leaving little time for applause between changeovers.
Dub production techniques play an audible role throughout the set as incredible care and emphasis is placed upon rhythm. Reverb-drenched guitar samples grapple with bass-heavy grooves, and distant drum sounds slowly seep through on occasion, pinning down the melodies. The samples, loops and synth lines are quite simply given the space to evolve and reshape in the audience’s ears as they play out in unhurried fashion.
Unconventional elements are used as well to create organic sounds and rhythms, from manipulated frequencies to the slow scratching of wood (which forms the percussive basis for one track) to cut up vocal samples of people relaying their daily routines.
The overall result is an exceptional and unique selection of songs that recall the experimental depth of Lucky Dragons, the unnerving ambiance of Boards of Canada, and the phasing, pendulum patterns of Steve Reich. Superb.
Words: David Browne
For more on the elusive Sad City, check out:
Facebook: http://www.facebook.com/pages/Sad-City/148536318499740
Myspace: http://www.myspace.com/sadcity/music
Soundcloud: http://www.soundcloud.com/sadcity
Pre-order your copy of Gestures here: http://www.underwaterpeoples.com
You can also catch Sad City at the Merchant City Festival, 21- 24 July 2011.
