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The Presets

The Presets certainly are a couple of avant-garde Aussies who, while forging a music path that wouldn’t be new to acts like Daft Punk, Nine Inch Nails, as well as the Faint, don’t brain dragging disco along for the ride. Julian Hamilton (creation, keyboards, vocals) and Kimberley Moyes (creation, drums, coding) fulfilled in the first ’90s as learners at Sydney’s Conservatorium of Music. Both have there been to study traditional music, but because they delved in to the great composers, neither could ignore an extracurricular like of ’80s pop: the Smiths, Family pet Shop Children, Björk, New Purchase. So rather than abandoning their interest for music’s lighter aspect, they bonded over it, composing music at college by time and dance to acid home by night. Ultimately, they became a member of the music group Prop collectively, cranking out many albums of experimental instrumental music that earned them essential plaudits across Australia. The Presets had been created as an offshoot of Prop — when Hamilton and Moyes wished to remix a monitor with harder digital edges, they do so beneath the Presets moniker. In 2003, having a distinctively spiky disco-dipped audio and several many years of cooperation increasing them, they released a demonstration; the important Aussie label Modular lost virtually no time adding the Presets to its roster. An initial EP, the fairly hard-driving Blowup, offering guitar function from Silverchair’s Daniel Johns, came the same yr because the duo 1st strike the Australian stage circuit. In 2004, the mellower Woman and the ocean, whose title monitor was presented on it display The O.C., premiered, and 2005’s Straight down Down Straight down, the disk that founded the Presets like a band worth Euro buzz, adopted. With momentum on the part, the Presets also released Beams in Australia in 2005; in Apr of 2006, per month after it discovered favour with electro-freak-loving United kingdom supporters, Beams lit a route into U.S. record shops. The pair came back in 2008 using a darker, even more enhanced sound on its follow-up, Apocalypso, which would continue to become the very first dance record to earn the ARIA (Australian Documenting Sector Association) Award for Record of the entire year. Their third record, Pacifica, found its way to the summertime of 2012.

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