The Sugar Club, Dublin: 3rd November, 2019.
Tickets €18 Incl. booking fee.
Doors 8PM | Over 18's | ID Required.
New Zealand Indie-Folk singer Tiny Ruins announces headline Dublin show at The Sugar Club
A warm swell of ambient sound precedes an arpeggiated rhythmic riff that springs into flight, exuberant and joyful. Sparkling electric guitar punctuates the relentless thrum of Hollie Fullbrook’s acoustic, as the potent lyricism she is known for cuts searingly through the noise - “Stirring, shaken, all of us waking under the same cover of sky".
And so begins ‘Olympic Girls’, the title track of the third long-player from Tiny Ruins. Set for release on 1 February 2019, the group’s hotly anticipated next offering is replete with vital lyricism and galvanising rhythms.
Building on the sparse minimalism and mesmerising songwriting of earlier releases, Olympic Girls comprises a taut and agile quiver of songs, dancing with explorative instrumentation and a pop sensibility that springs with life.
The album was recorded during several intense weekends spanning many months in producer Tom Healy’s small Paquin Studio, nestled inside The Lab in Auckland’s Mt. Eden. With Healy playing electric guitar in the band since 2014, the tracking room doubles as a practice space for Tiny Ruins and other local bands, and is the same studio in which they recorded 2014’s Brightly Painted One, for which Healy was nominated for Producer of the Year at the New Zealand Music Awards.
With Fullbrook at the helm and Healy producing, longtime bassist Cass Basil and drummer Alex Freer were vital sounding boards & leant their own creative flourishes toward an overall sound of confident exuberance, marrying the intricately woven poetics of Leonard Cohen, the shimmering dream-pop landscapes of Beach House or Mazzy Star, and the off-kilter experimental pop of Broadcast or John Cale.
The result is an expansive series of delightfully bold arrangements – the sound of a band so fluid, yet grounded; the hard-won trust and ease that comes with long months of touring. The burden of it taking so long was also its blessing, with no filler seeping through the bricks, nor beams blocking out the spaces. As Fullbrook says, quoting the lyrics of the somewhat sinister ‘School of Design’, “it was time to bust through the ceiling”.