Last updated: 4 hours ago
Australian artist Jonnine Standish’s solo work both dilates and deconstructs the damaged, sensual minimalism of her iconic, decade-plus collaboration alongside Nigel Yang in HTRK (2003- present). Skeletal rhythms slink and echo through dimly lit streets framed by fragments of guitar, bass, breath, keys, scrapes, and haze, anchored by Standish’s narcotic, nocturnal voice. The moods she conjures are lovelorn but oblique, between dream and coma, scenes glimpsed through fogged glass.
Supernatural, her 2019 EP for Good Morning Tapes, is a chic suite of stripped, spectral dub, both spoken and sung, between confession and come on. 2020’s Blue Hills, for Boomkat Editions, ventures even further towards the outskirts of her sound, haunted assemblages of memory and melody, naked emotion and negative space.
Supernatural, her 2019 EP for Good Morning Tapes, is a chic suite of stripped, spectral dub, both spoken and sung, between confession and come on. 2020’s Blue Hills, for Boomkat Editions, ventures even further towards the outskirts of her sound, haunted assemblages of memory and melody, naked emotion and negative space.
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