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General enquiries: info@poundrecords.com
Postal address: 2 Berrima Rd, Donvale, Victoria, Australia 3111
YouTube: http://youtube.com/user/PoundRecordings
Instagram: http://instagram.com/poundrecords
Facebook: https://facebook.com/pages/Pound-Records/612075202168287

Sunday 15 Jan - 2017 Hue Blanes Trio Bennetts Lane


Sunday 22 Jan - 2017 Hue Blanes Trio Bennetts Lane

tixs here

Sunday 29 Jan - 2017 Hue Blanes Trio Bennetts Lane

Tix Here

Friday 10 March - 2017 Archer Harvester Moon - Bellarine
Saturday 18 March - 2017 Archer Major Toms - Kyneton

About the Pound

Pound Records, a Melbourne-based vinyl label, is a family enterprise that records new music and original artists using old, old, techniques. Pound harks back to the dawn of band recording; one microphone, the musicians clustered around it, an acoustically ‘live’ room, and ambience - breaths, chair scrapes, departures from the script - all kept in.

Founded by Martin Martini, The Pound is run with his partner Laurie Campbell. It’s a return to, and a capturing of, the days when music was a natural extension of life. Friends and family gathered together, in lounge rooms and houses, to play instruments, improvise and sing. Music was conversational, it was story-telling, it was relationship.

The Pound is about simplicity, original music, and capturing a moment. The first recording was an accident, a group of friends jamming late at night in a 19th century dairy shed and one-time coffin factory. This recording, ‘The Smallest Band In The World’, has become The Pound’s third release, and set Martini off on this creative, Quixotic, personal course.

The artists who are invited to record and release through The Pound tend to be outsider artists. Part of the root system of Melbourne’s musical ecosystem, they’re brilliant but a road less travelled from mainstream. Songwriters and composers who have talent to burn, and probably have. Pound Records is a musical community, a place of collaboration and self-expression where Martini takes pride in fostering the creative flame.

All Pound recordings are done live in acoustically beautiful spaces. Either The Pound (aka that ex-coffin factory in Malvern), or in an old church, a town hall, or by the fire in a friendly house.

Think of Japanese pottery, which is celebrated for the beauty in its imperfections, the individual cracks in the glaze. Martini has slipped purposefully away from the current normality of high production values, and vacuum sealed studios where musicians aren’t even playing in the same room. Or on the same day. Music that has to be rebuilt, soundwave by soundwave, using a software package. Martini calls Pound Records ‘the smallest label in the world’, and that refers to its ambitions. Left of field artists, non-commercial aspirations, the small perfect dream of music that you stumble over by surprise, and cherish for a lifetime. Pound Records exists to foster music without a specific demographic in mind. Pound Records does not demand attention. But its music will tell you stories, and keep you warm, and be good company.

The Smallest Band In The World Martin Martini: Vienna 1913 Hue Blanes: Sad songs make me happy Vienna 1913 Tshirt Archer: Old time sing song man James Macaulay: Three minute blitz

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James Macaulay: Three minute blitz

Recorded and mixed at The Pound on Oct 25 2013 by Phil Noy. Mastered by Phil Rex. Produced by Martin Martini. Photograph by Amelia King. Design by Stuart Geddes.

It’s a creeper, this record. I was there when it went down, but I can’t recall the tracking order – I wonder if it was the same as they appear here. Actually, who cares – the result is gorgeous; a portrait of honesty and humility that threatens to crack it’s so fragile at times – a bit like James/Jimmy/Bison in that respect…

I like that I can ‘hear’ him on this record - literally, obviously, but I mean the fella too. He’s a paleo-romantic; old-school, that is – heart on his sleeve (foot in his mouth often enough), that sort of thing. Hates a drink, loves a rave; happiest when they coincide. A (mostly) walking contradiction; a disciplined lush. I mean, look at him: Hair like a beast (bison?), worst posture ever… But what a sound – you can’t argue with that – brimming with generosity, wit, and a whole lot of Higgy.

He’s also bright enough to surround himself with greatness in Stevie (check him out on Lingering Notes), Tam and James/Jimmy drums: never static, never coasting; always bringing themselves to the party. You can tell too that James’ gigantic brain has had a hand in writing the tunes, but thankfully it’s the lyricism in them that leaves the most lasting impression.

He’s a lot of things is James, as is this record. But mostly he’s a sweet guy who plays the ass out of the trombone and writes some cool tunes.

-Eugene Ball

Musicians: James Macaulay -trombone, Steve Grant -piano, Tamara Murphy -double bass, James McLean -drums

Track listing

  1. Christmas Day Love Song
  2. Melancholy Thing
  3. Three Minute Blitz
  4. Lingering Notes
  5. Stand Up Flat
  6. Cuban Heel

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Archer: Old time sing song man

Archer is a funny guy. You never quite know when you’re going to see him again or what on earth he’s been doing in the meantime. And you never quite know what strange things he’s going to say, or what kind of songs he’s going to sing. Or what kind of album he’s going to come out with for that matter. He’s got raucous songs, and bawdy songs, and classic old vaudeville style comedy songs and classically structured little two minute nuggets of country brilliance. But those aren’t the songs on this album. This is a collection of songs that all share a certain mood. Some of them are sweet and some are sad and some are slyly humorous, but they all have this sense of rambling. A resigned sort of wandering sadness. As he sings his songs about bushrangers and time machines and the fire that burnt his house down, his rich craggy voice meanders all over the place, his guitar rolling along, sending odd misplucked notes ringing out into the ether and rolling on through them. You get the feeling these are the kind of songs he sings when he’s alone, just staring out the window. And consequently it’s the kind of record you want to put on and just stare out the window and into Archer’s mind. And then when it finishes you want to put it on again. I’ve been listening to it all week, and when side two finishes, I just put on side one again. And I get a little more each time.

  • Richie1250 PBS Radio/Melbourne

Produced by Martin Martini. All songs by Archer except track 4 (spiritual), track 6 written by Cliff Carlisle, track 11written by Bob Miller and track 12 (spiritual).

Side A recorded and mixed by Michael O'Connell at Sing Sing Studio, Cremorne, Vic, Australia, Feb 1, 2014 Side B recorded and mixed by Phil Noy at The Blackwood Community Hall in Blackwood, Vic; and Jason’s house in Smeaton, Vic, Oct 21, 2013.

Mastered by Gavin Lurssen at Lurssen Mastering, Hollywood, CA.

Photography by Wilk. Design by Stuart Geddes. Printed on recycled paper.

Track listing

Side A

  1. One grain a sand
  2. Standing still blues
  3. Fire
  4. Oh Mary don't you weep
  5. Ben Hall
  6. Nasty Swing
  7. Garden

Side B

  1. Murray River
  2. Sunny side o the mountain
  3. Jesus was a man
  4. Rocking alone in an old rocking chair
  5. Church Bells
  6. Time Machine

Merch 001
Vienna 1913 Tshirt

Photograph of Martin Martini’s mother after a long day of work teaching dance, no makeup, wearing organic cream coloured American Apparel Mens Medium tshirt, with cover artwork by Michael Camilleri.

Limited run of 100 shirts, only sizes available are Mens Medium or Mens Large.

Note: Shirts have been sold at live show to ladies as a potential outfit for bed - A nightgown, nightie or nightdress.

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Hue Blanes: Sad songs make me happy

Recorded at The Pound on February 6th, 2013.

Album cover photograph by Martin Martini, in Hue’s back garden in Brunswick, in front of his damp washing and a pile of bricks.

Sad Songs Make Me Happy is the first release on Pound Records. Produced by Martin Martini, and engineered by Michael O’Connell.

Hue Blanes is not a man afraid of his feelings.

Socially awkward, bleak, wry, and personal. Hue Blanes’ first solo album, Sad Songs Make Me Happy, is an exploration of simple things and hopeless situations. Featuring honest and unglamorous cover art, it’s a remarkable solo debut in stripped back piano, bass and drums.

Hue wrote the album cycling between his home in Brunswick, and his mother’s house in Blackburn. In his own words, this album ‘captures uncertainty’.

He has a broad range of musical traditions at his disposal, and they’ve all had a hand in Hue’s song-writing. Sad Songs Make Me Happy is a unique collection from an original composer, ranging between avant garde pop, cautionary ballads, pre-dancehall waltz, and uptempo, lyrical, jazz.

Sad Songs Make Me Happy is a punch to the heart of the human condition; the longing for something more. There are no standard love songs in this restrained, existential collection, but Ann-Marie is maybe the best break-up song of all time. These songs are noble and sweet, bright and sad, a philosophical dance on the fear of missing out.

All songs composed and arranged by Hue Blanes, except Ann-Marie (James Hampton and Hue Blanes).

Musicians: Hue Blanes piano, vocals, tin whistle, synths, Jules Pascoe double bass, Danny Farrugia drums, James Macaulay trombone, Darcy McNulty saxophone, Adrian Perger trumpet.

Track listing

Side A

  1. To those who are finding it hard to sleep tonight.
  2. Blackburn Rd
  3. I should go away
  4. Little house
  5. Pale song
  6. Slippery Jack

Side B

  1. Mumma let me go
  2. Live everybody’s experiences
  3. Ann-Marie
  4. Trapped in my ways
  5. The Captain and the Sea
  6. The Dark

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Martin Martini: Vienna 1913

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)

Track listing

  1. Vienna
  2. The Kiss
  3. The Car
  4. Rolls Royce Arms
  5. One Man Five Coffees
  6. Egon Schiele
  7. Oskar Kokoschka
  8. Big Brains
  9. Sleeping Woman
  10. Flower In My Head

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The Smallest Band In The World

Recorded in 2009 at The Pound. Midnight to dawn, around one cheap Chinese microphone.

The chance recording that started everything. A few musicians collided one night, unfashionably south of the river, at the Krakow cellar-style bar Borscht, Vodka and Tears. Martini and friends were hanging after a gig, Leili Mander, a visiting Swede, was hurting after a cold reception from her long-distance, banjo-playing sweetheart.

They named her ‘Bill’, and the newly minted crew headed round the corner to Jules and Darcy’s place - The Pound - a party house/crash pad/urban commune for Melbourne’s jazz fraternity. They jammed. Songs were written on the fly, snatched from the air, a lyric partnering unexpectedly with a phrase. One of those magic, stupid, brilliant, ephemeral nights, where something lovely happens between consenting adults, and dissipates at daybreak. Except this time someone pressed ‘record’.

This spontaneous album, of warm, poetic, bluesy jazz, is a document of a night. It is an excellent companion; easy to have around, a good sense of humour, and real.

Musicians: Leili Mander ‘Bill’ vocals, Darcy McNulty tenor saxophone, song-writing, Martin Martini vocals, piano, song-writing, Jules Pascoe bass.

Track listing

  1. Nimbin Voodoo Queen
  2. One Wooden Leg
  3. Never been so blue
  4. You only call me when you've been drinking
  5. Michael Jackson
  6. Money can't touch me
  7. She don't need no one
  8. I know nothing about life
  9. Venus
  10. Screw the moon