In praise of HTRK (words and illustrations by me)

I think it was 2011 when HTRK (pron. Hate Rock) first came to my attention, headlining Good God Small Club in my native Sydney, supported by Lost Animal and Kirin J Callinan. Despite being buried to my neck in study at the time (ultimately costing my attendance at the show) I still recall the intense hype surrounding HTRK's presence in town. I had never heard their music, their name had possibly passed me before but l had nothing else to work with but my startled impression of their Sydney popularity, and judging from the show's support acts, a good hunch on their creative direction.. One year later l still had not investigated the matter further. Reports and spottings of their name continued however, so one fateful overcast day l made my initial purchase with their first two releases; Nostalgia (2007) and Marry Me Tonight (2009) and have never looked back .. for a good while, not even to much else in my music collection. 

Today, the group, originally titled Hate Rock Trio (formed in 2003) comprises of two members; vocalist and percussionist Jonnine Standish and guitarist/sequencer Nigel Yang. Previous to March 2010, bassist Sean Stewart completed the former three-piece.

Focusing on their early recording, a few points underpinning HTRK's brillance could firstly be attributed to their originality and innovation in the use of specific vintage audio equipment (notably 80's Roland TR and TB sequencers). Also, while admittedly unique to me as an Australian listener, is the incredible sense of separation and creative disfigurement the group accurately create as an Australian band operating in a global context. While nodding to No Wave, early Electronic and Post-Punk influences; to me, their early work especially Nostalgia also captures Australia's isolation scars and uneasy relationship with the greater developed world so far from it's shores.. By 2006, HTRK in fact made the move to Europe, settling initially in Berlin with fellow-band The Devastations, shifting away from what would have then musically been the aftermath of the Garage revival in Australia.  

HTRK's handling of what was at least, for their earlier years, a near-Spartan set-up; consisting of Standish's vocals and single floor tom drumming, Yang's effect-driven guitar and Roland TR-808 programming, and Stewart's raw bass playing; it felt to be collectively ruled by the dynamics of the 808, providing the group's exciting (while morbid) sonic attractions. The 808 (their longest-standing drum machine) in the group's contemporary standing, is enveloped in an unusual redefinition of those classic sounds and sequencing styles into a new and starkly different creative vision. Armed with their signature and even early provided-title 'nostalgia' HTRK reflect on a unique melancholia. The 808, seemingly once characterised by Rap, RnB and Electro of the 1980's and beyond, HTRK's drastic down-tempo and unusual compositions on the device, filled for the larger term by Sean Stewart's sludgy bass-anchoring, presented a rhythm section that not only provides the group's expected No Wave dread but also in it's minimal and open workings, seems to spell the sense of time between the 80's hey-day of the equipment used and the far future they operate in now. 

No where else is this more evident than on Nostalgia (originally recorded merely as a demo) that retains the impression as well of being recorded in a filthy vacant warehouse, see 'Look What's Been Done'  YouTube link below. Largely in reviews, the group's musical intentions have been pointed towards invoking desire; however with their rumbling analog workings allowed to decay into the distance; the burden of time l would rather say, is absolute.




After their extended stay in Europe and the UK from 2006 until approximately 2011/12 during which included the tragic death of Stewart in 2010, the group have naturally altered musical course, seemingly taking different impressions and greater perspective and refinement of their ongoing aesthetics with each album. Following Nostalgia, this includes; Marry Me Tonight (originally recorded 2006 in Melbourne under the production of Rowland S Howard, released in 2009) and most recently Work (work work) (2011) both through UK label BLAST First (petite). I have hope for a new album in 2013, which appeared to be recorded in Mexico last year; their first full effort minus Stewart's contribution. 

Infused by the more wintery tones of Europe, the most-recent Work in it's four-year span documents that residency in the group's career. The more simple set-up has now been replaced with what appears to be a large-table worth of electronics at Yang's disposal, consisting of the irreplaceable 808, now as well as the Roland TR-707 and what appears to be the legendary TB-303 Bassline, assumingly (all though quite a different sound) in replacement of Sean Stewart's former bass duties. In this sense, the juxtaposition between HTRK's established line of equipment and the generally opposing finished musical result has expanded again in recent years and can only be expected to morph and refine again in time to come. 

While initially, HTRK's manipulation of the 808 was a stand-out feature to their sound, they now literally use a whole group of equipment, once better known as the foundation stones to Acid House in the 1980s, to otherwise produce their radically different compositions. In later times, and in anticipation to what their new release will sound like, Work inherited something closer to more Trip Hop qualities as well as what has been seen as a contemporary leaning towards more colourful genres like Witch House. Improved production and a distance from Australia (until very recently, where it appears the group are at least temporarily residing) have warped their initial searchings to a more European and otherwise audibly refined investigation in recent times.   

Perhaps serving as an introduction to some readers, the focus here remains on their early work especially Nostalgia; an especially raw and atmospheric treat on vinyl if you can find it. HTRK's unique sound in it's Australian context feels much like an important and artistically successful example to bring to light. Using a very dark and uneasy 'nostalgic' wandering, l believe HTRK create a startling and true impression of Australia and/or response to our isolation and uneasy international placement. Essential listening.            

HTRK are playing next in Sydney at Carriage Works, At First Sight: Saturday July 20 2013
http://www.carriageworks.com.au/?page=Event&event=At-First-Sight


-Jim Shirlaw   


Early work:

More recent: 

Trivia: 

It was a recent surprise to accidently create one of HTRK's recognisable sounds, the indescribable frayed percussion sound that punctuates the movements from start-to-end on third album track, Slo Glo off Work. This sound was created by applying a Chorus effect (Moog Cluster Flux) on the TR-808 Handclap, at least if that wasn't how they generated the sound themselves, it produced what l could say was the exact same effect..