Boy ℗ House Anxiety Released on: 2022-04-29
Michael Was Right About You
Harvey Sutherland — Holding Pattern — Official Visualiser & Lyric Video
“Feeling Of Love” Ft. DāM-FunK (India Jordan Remix) Visualiser and Animation: Melanie Blewonski Production & Engineering: India Jordan Mastering: Wouter Brandenburg @ Brandenburg Mastering Written by D.G Riddick, M.Katz and G.Pogson Arranged and Produced by M.Katz Harvey Sutherland lives and works on Kulin Nation land. Respect is paid to the Wurundjeri and Boon Wurrung people and their elders past and present. Sovereignty was never ceded. Always was, always will be Aboriginal land. ©﹢℗ 2022 House Anxiety, under exclusive licence from Clarity Recordings
- RELEASE DATE 2022-04-29
- LABEL House Anxiety
- CATALOG BLV10091246
Today sees Melbourne-based producer, DJ and instrumentalist, Harvey Sutherland release his stunning debut album, Boy via House Anxiety.
Drop the needle on Boy and find yourself transported to a hypermodern take on funk music. Recorded between London, Los Angeles and Katz’s own Swimming Pool studios with a host of hotshot Melbourne session musicians and a string of guests, tracks like “Age Of Acceleration” and “Michael Was Right About You” take the base elements of funk and fire them through a prism of influences – the hyper-produced studio pop of Todd Rundgren, the lush synth groove of New York boogie and the harsh snap of coldwave. Early Harvey Sutherland 12-inches like “Bermuda” and “Priestess” (handpicked by Paul Woolford aka Special Request for his recent DJ Kicks compilation) were electronic dance records in love with the sound of soul, funk and disco music. But Boy is every bit the real deal.
Boy has been a couple of years in the works, taking shape in between tours with Khruangbin and Hot Chip as well as a busy studio schedule that include production and killer remixes for Disclosure, Genesis Owusu and Hiatus Kaiyote. In this time, Katz also spread his wings as a bandleader, touring internationally with his live ensemble and directing an 11-piece band for the New York boogie icon Leroy Burgess on his Australian tour. Boy, though, was a chance to make something more personal. Katz made most of the record “in a circular loop between my studio and my psychotherapist”, so inevitably it started out being a record about his father (hence the “boy” of the title, a term of endearment used by the men of the Katz family). Increasingly, though, Katz realised he was really writing about his own traits and habits. Instead, Boy became a sort of quest for identity; that’s when he knew he had to put his own face on the cover. “I like the idea of oversharing,” he explains. “Electronic music has that archetype of the brooding, faceless producer. I sort of like hacking that, doing the opposite.”
For all its introspection, Boy looks outwards too, “Age Of Acceleration” and “Feeling Of Love” attempt to capture something of the confusion and unrest of modern times. The latter is a collaboration with boogie legend DaM-FunK. Katz wrote the beat in Melbourne, took it out to Culver City, and the pair worked on it in an afternoon writing session. It could pass as a love song, but really it’s about keeping your head straight in an era of misinformation. “Is it about a girl, or is it about society?” asked DaM-FunK. “It’s definitely about society”, Katz replied. There’s another stand-out collaboration in the shape of “Type A”. A taut coldwave number with a deadpan vocal from Jack “sos” Summers of Melbourne punks CLAMM, it’s both a satire on that very Australian custom, “tall poppy syndrome”, and an anthem to the sorts of enthusiastic overachievers who are never, ever satisfied.
But if you’re looking for a key moment on Boy, look to “Holding Pattern”. Katz often sings on his records, honeyed backing vocals and crooned refrains. But after sending the track out to a collaborator and having it fall through, he decided to bite the bullet and step up to sing his first lead vocal. A gorgeously smouldering soul turn with a zesty sax solo, it’s a dare that came off. “That whole process was really confronting,” remembers Katz. “It was like, I don’t know whether I’m a good singer or not – I’m just gonna just kind of put this out there. You know, the world’s ending, why not?” Overthinking it, embracing awkwardness, putting yourself out there: that there is the essence of neurotic funk.