Run Fast Sleep Naked
Nick Murphy (fka Chet Faker)
Wed, July 10
Doors: 7:00 pm9:30 Club
Nick Murphy has partnered with PLUS1 so that $1 from every ticket will go to organizations bringing dignity, equity, and access to communities who need it. www.plus1.orghttps://www.930.com/event/1838887/
Nick Murphy (fka Chet Faker)
Nick Murphy returns to North America from May to July 2019 to launch his new album, Run Fast Sleep Naked
In the making of his sophomore album, Nick Murphy spent four years traveling the world solo with a microphone in his suitcase, recording his vocal tracks in whichever spaces and environments most inspired him. During that time, the Melbourne-bred singer/producer/multi-instrumentalist formerly known as Chet Faker immersed himself in intense self-examination. With its penetrating songwriting and kaleidoscopic palette, Run Fast Sleep Naked is a hypnotically candid document of that searching, an album equally informed by constant questioning and steadily arriving at fragments of truth.
Co-produced with Dave Harrington and mixed by Murphy and Phil Weinrobe, Run Fast Sleep Naked is the latest in a series of widely acclaimed releases including 2017’s Missing Link EP and Murphy’s 2014 full-length debut Built on Glass—a platinum-selling effort that won him seven ARIA Music Awards, including Best Male Artist and Producer of the Year. Although Murphy captured his vocal performances in spaces across the globe—including his grandmother’s living room, a studio in Tokyo, a vacation rental he shared with his family in New Zealand, and his own New York City apartment—the musical component to Run Fast Sleep Naked was mainly recorded at Figure 8 in Brooklyn. And in sculpting the album’s shapeshifting sound, Murphy enlisted over 20 session musicians and a full orchestra, embedding each song with unexpected textures and wildly varied tones.
Nick Murphy has played sold-out shows on five continents, appeared at major festivals like Coachella and Glastonbury, and taken the stage at The Ellen DeGeneres Show and Jimmy Kimmel Live!. Since the release of his debut album, he’s dropped the Chet Faker moniker and made his debut under his own name with the brooding 2016 single “Fear Less,” with follow-up single “Stop Me” premiering in mid-2016 and Missing Link arriving in spring 2017. Don’t miss Nick Murphy reveal what’s next in 2019.
Beacon’s third full length record enters sight as a work of meticulous revision and refraction.
Returning home to New York in 2016, four years and several tours since the duo's first release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be different. Together they embarked on open-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad infinitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and driving dance sequences — can coexist at different speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs, which is set for a November 2nd release on Ghostly International.
“All matter is created by dividing gravity into pairs,” said 20th century scientific mystic Walter Russell, whose idiosyncratic “new world thought” writings and musically-informed schematic drawings were as fringe in their time as they are fascinating. Mullarney details the concept further: "’Gravity Pairs’ is how Walter Russell describes the rhythmic order of the universe. I kept reading 'pairs' as both a noun and verb; simultaneously the elemental units of Russell’s balanced universe and the process that brings us together." This curiosity of natural phenomena shines through the album’s kaleidoscopic artwork — dichroic glass prisms photographed by the band themselves —and its lyrics, most directly through the narrative device of light.
On the somber ballad “Losing My Mind,” the duo’s boldest sonic departure to date, Mullarney sings of stability, whether romantic or spiritual, and the comfort in knowing someone remains in the absence of light. Written on piano, the song first swelled into a full-bodied arrangement before reverting to its original shell, as Gossett explains. “I came back from a trip and Tom had a new edit that was completely stripped back. Sometimes it just takes those infinite iterations to finally crack the code.”
With each iterative breakthrough, Beacon expanded the spectrum of these recordings as well as their possibilities in the live setting. The material can be played straight or in previous variations, enhanced by the recent addition of a drummer to their live band. Another epiphany came in the spring of 2017 when Beacon joined Tycho at Coachella and for dates in Europe, with Mullarney experimenting as the band’s first ever vocalist. “Just doing things at that scale, and at that point in the record, was really validating,” says Mullarney. “We came back with confidence to finally finish the record.”
Two models exemplifying this mode are "Be My Organ" and “On Ice.” The former is sketched out in real time in the new video streaming on YouTube. The latter is a smoke-filled still life. Notes arpeggiate along a cool, motorik beat as Mullarney repeats “you’re not moving,” his vocals vaporized and echoed. The former elevates on a percussive build, reaching its peak in the final strobe lit minute. Then there’s a late album flourish, “The Road,” which, through pinwheeling repetitions beamed into four-on-the-floor framework — from Tycho drummer Rory O'Connor — folds vibrating wavelengths into a symphony of fragmentary energies.
Russell, the mystic, believed in balance, a rhythmic exchange “between all pairs of opposite expressions.” On Gravity Pairs, Beacon channel the philosophy with pure pop mystique, slicing through dense and foggy dance and electronic music apparatuses to create something familiar but unique, melodic but cathartic. Rippling through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion, posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a whole, in their various combinations and compressions, these complementary and secondary tones unlock the lushest field of color, a universe of light.
815 V St. NW
Washington, DC, 20001
815 V St. NW
Washington, DC, 20001