Amplifier Machine began in 2002 with James Dixon (Swordfish, Supagroop, James Dixon) on guitar, Korg & piano, Seth Rees (The Spheres, This Is Your Captain Speaking, I Want A Hovercraft, Seth Rees) on drums, violin, samples, piano & guitar and Alex Jarvis (Automatic, Black Cab, Registered Nurse, Alex Jarvis) on guitar & drums, with the intention of combining their songwriting talents.
Something about getting three solo artists together, or maybe something about what rehearsing for so long in a freezing Collingwood warehouse does to the brain, caused the pop-bred members of Amplifier Machine to spiral out into a peculiar music of inquisitive, atmospheric, half-improvised mini-epics.
Amplifier Machine is a self-described experiment inanemocratic process and near-improvisation (anemocracy = rule by whim or the wind). Through earnest discussion and endless unending jams, Amplifier Machine came upon The Rule: that when the other two members have settled, it’s your turn to change.
The Rule was found to be useful, not only in musical terms, but also as a strategy in discussion, advocacy for the devil, and reducto absurdums. Each members’ musical approach is informed by knowledge of various artistic process, including: visual art, drama, the written word, carpentry and car maintenance. Thus, in music and in discussion, Amplifier Machine tends to start with a thesis, then to spiral out into varying antitheses, to arrive at some sort of synthesis. At least, that’s the idea.
Somewhat of a departure, in terms of sound, for 12k, Her Mouth Is An Outlaw breezes darkly languid chords over a post-rock-meets-experimental structure that is decidedly lacking in micro-electronics. These echoes reach for new 12k-heights while the spirit of ambience and space remain familiar.