Recorded at The Pound on two microphones. Vinyl album packaged with a 12”, 46 page graphic biro masterpiece from illustrator Michael Camilleri.
Released November 2013
Vienna 1913 is a sumptuous, sophisticated extravagence, where art and music collide. The quality of the packaging demands respectful handling; thick cream stock, and Michael Camilleri’s obsessively cross-hatched graphic snatch from other worlds and times.
Martini’s music is equally decadent and arresting.
This is Martini’s first studio album in five years, but true to form it wasn’t recorded in a studio. Vienna 1913 was recorded at The Pound, an ex-coffin factory with splendid acoustics.
As with all records on this label, the intention was to capture everything in the room; the coughs, the laughs, the walls, the traffic, the rain. It is a documentation of a day, with the personal left in, not produced out.
The songs were originally commissioned by the National Gallery of Victoria, and coincided with the NGV’s Vienna Exhibition in 2011, featuring a cross-section of Vienna’s major modernists, from Egon Schiele to Gustav Klimpt. Martini’s songs take old wisdom and apply it to a modern context; they are prophetic, lush, and world-weary.
This is music to be played in an abandoned grand ballroom, in a city that’s surrendered to decay. This is Martini’s most mature and aurally addictive work to date. Jaunty blues, disorderly dragging jazz, this is playful and lamenting speakeasy music for the early hours.
As usual, Martini has collaborated with his band of friends, drawn from the fabric of Melbourne’s jazz scene. Foremost in that crew is Darcy McNulty, who colluded with Martini on several songs, and sings on 1913 and Sleeping Woman.
Musicians: Martin Martini piano and vocals, Darcy McNulty saxophone, vocals (1913, Sleeping Woman), Adrian Perger trumpet, Jules Pascoe bass, Ian Smith tuba (Vienna, Big Brains), Lynn Wallis drums.
All songs by Martin Martini, except Rolls Royce Arms, Oskar Kokoshcka, 1913 (Martini/McNulty), and Sleeping Woman (McNulty)