METHYL ETHEL (Solo)
The Methyl Ethel show has been rescheduled to Friday 16 October 2020 at Mary’s Underground, Sydney.
Your current tickets are automatically valid for this new date, and you do not need to take any further action if you are able to attend the event.
Should you no longer be able to attend the event, you have the option to request a refund prior to Thursday 30 April 2020 by logging into your Moshtix Account here and clicking on Manage Tickets to view and select the Request Refund option. If you created your booking as a Guest, Sign Up here to register and access your tickets using the same email address that was used for the booking.
Due to the number of cancellations, our refund process is taking slightly longer than usual. You don’t need to do anything; your ticket(s) will be automatically refunded back to your credit card/PayPal account and we’ll let you know when this has been done, please allow up to 3-5 business days from this notification for the funds to return to your account. If your card details have changed, please wait for Moshtix to contact you directly regarding this.
If you're unable to see the refund in your account after this period, please contact your financial institution before contacting Moshtix.
Alternatively, if you purchased tickets from an outlet you will need to go back to the point of purchase.
Please understand that given the extraordinary circumstances, our Fan Support teams are incredibly busy at the moment, so we encourage you not to contact us. Instead, you can find lots of information and answers to your questions in our information portal at tixsupport.moshtix.com.au.
Here’s a read on Hurts To Laugh. It’s an EP by Western Australia’s Methyl Ethel, recorded within the same sessions as 2019’s Triage. It marks the ongoing output of producer and multi-instrumentalist Jake Webb’s restless mind. Time and again he’s proven that while there’s no distinction between music and art, psychologically speaking there is a difference between feeling and emotion. One is a conscious response to a set of circumstances, the other is the unconscious conditions of our very being that only occasionally surfaces through feelings. Hurts To Laugh excavates this ambiguous site, implied by its very title. You can laugh so hard it hurts— pure joy. Or laugh despite the pain—despair. These paradoxes run throughout the EP, as well as everything that came before.
There’s the muted, knocking tom of “Charm Offensive” on this sixth Methyl Ethel release since 2013. Its 25-second false start of only a vocal and rhythm section opens in a distressed hiccough. The lyrics are repeated but indecipherable. A sentence starts but doesn’t end before a melodic organ carries the music into a dream pop ebb. The title is equally as inviting as it is antagonistic. An oxymoron. An alluring assault.
Lead single “Majestic AF” stumbles into its bubbling oscillator and analogue polyrhythms, while a kick-free drum beat marches right into an atonal synth melody supporting Webb’s equally idiosyncratic falsetto. Visual artist Loribelle Spirovski’s impasto paint strokes on the gestural side profile of a head on the EP cover resounds throughout the music it holds. The figure’s one detailed eye looks out from a flurry of vivid colour. He returns his gaze to his audience and dares them to guess what he’s thinking.
Sydney-based artist Spirovski is the same person whose work features on last year’s Triage— Webb’s third and last album in a trilogy of obliquely expressed relationship drama, starting with 2015’s Oh Inhuman Spectacle. That was a full-length debut with the eerie art rock aesthetic of Connan Mockasin, by a band with a similarly silly name. The jangly echoes of tracks like “Shadowboxing” and gold certified “Twilight Driving” resonated with the blown-out vibe of sunsoaked film photography, recorded across the bedrooms of Perth and produced by Webb himself. This muddled metaphor of sound and image is a deliberate one, because for Methyl Ethel, the two come hand-in-hand.
The artwork for 2015’s Oh Inhuman Spectacle; a found image titled ‘carnations in the modern manner.’ An almost abstract still life sculpture represented in flattened space. 2017’s Everything is Forgotten followed with artist Holly Fewson's female figure looking into a mirror with no reflection. That album, with its platinum-selling single ‘Ubu’—oddly reminiscent of a kind of rockbased Hot Chip-era synth pop—represented a cleaner, clearer sound worked on with Arctic Monkeys and Foals producer James Ford.
Methyl Ethel is a project that’s the brainchild of a single mind—writer, performer and producer Webb—while also being a live band of five members. It makes music that draws from myriad influences and a history of new wave and indie rock, while sounding like its own thing entirely. Both familiar and alien, intimate and aloof, you never quite know what you’re in for, but the trip is bound to be enchanting.