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“With titles such as Blood, One Itch of My Finger and You're Dead and Soft Blood and Intuition, Robinson's songs have a decidedly McCarthy-esque sensibility before you even hear them. Then, within a few notes, they transport you to a lawless realm, the delicacy and harshness of which is conveyed in a meticulously realised soundscape. Nothing is wasted in the music; there is lots of silence and small sounds. I wanted it to [convey his idea of] the brutality and beauty of life always existing in the same moment.'' Read more: http://www.theage.com.au/entertainment/music/notes-from-a-nightmare-20120817-24da8.html#ixzz23reuekRA”
“Collider is a big-talking band. Horn players Adam Simmons and Kynan Robinson have lived musical lives of spontaneity and liberation, but with classical string players Andrea Keeble and Jason Bunn they're more apt to obsess over ''getting it right'' to teensy degrees of tuning, timing and timbre. I guess there's a sense of collision between different worlds. They're both about exploring fringes that can actually yield huge results. ”
“McCarthy’s writing is full of ideas about the fragility of life and the nonsense in the notion of the sanctity of life. He talks about the beauty and the ugliness in the same moment and also talks quite heavily on a supernatural and spiritual level. These are ideas that I’ve been thinking about for a long time but never been ready to deal with from an artistic sense myself.”
“This was really visceral music and its effect was felt physically. The combination of instruments provided a timbre-laden treat that would gladden the heart of a Tasmanian conservationist or an Orbost logger, or both.I loved the contributions of each instrument. I loved the percussive interludes and the way Ferella intervened with such sensitivity and minimalism. There were some absolutely entrancing standout solos — Robinson digging deep into the gravel and realising mid-solo he was breaking Ferella’s earlier appeal for quieter playing, Ronny Ferella taking the space to take us on a sublime journey of intricacy and introspection, Anita Hustas opening the final piece of the night with great presence, and Simmons on fire in slow-burn fashion that etched tenor notes into the dark room.”
“Kynan has a strong affinity and love for Cormac McCarthy’s work. Intellectually it seemed very well grounded, in that he had looked at McCarthy’s creative process and then took that into his own creative space. It wasn’t just that “this chapter made me feel this one thing” it was also about the act o f creativity Robinson was keen to be involved in the writers festival, but didn’t want to compromise his original ideas. ‘I don’t want people to think they’re going to come and hear a Cormac McCarthy work translated into music,’ he says. ‘I wanted to write something that reflected, or responded to how McCarthy’s writing made me feel and I didn’t want to lose that intent in this process.’”