Melbourne-based artist, producer and Gamilaroi man Tyler Millott’s solo project The Terrifying Lows recently released their self-titled debut album.
“Today is a big day. Today I finally release my first album to the world,” Tyler said.
“A few years of preparation and a lot of time to come, but it’s finally here and I’m proud of it … proud. Listen to it and I’ll be eternally grateful to you.”
The nine track release kicks off with The Terrifying Lows latest single, “Waiting For The Sun”, think Interpol meets BRMC with the flavors of Franz Ferdinand.
“‘Waiting For The Sun’ is about a weird, dark time in my life when for a long time I had very vivid and graphically violent nightmares and did just about anything to stay awake and not fall asleep.
“I don’t remember how long this lasted. The amount of time I can remember from that time seems too absurd to be real.”
Here, Tyler shares five songs that left a lasting impression and shaped his own musical path.
1: Fugazi – ‘Cashout’
The opening track from my favorite Fugazi album. I discovered this album at school, at a time when I was very passionate about heavy guitar.
However, hearing this album for the first time was an eye opener and forever changed my perspective on music of this ilk. Because Fugazi is, all things considered, a hardcore punk band.
However, this album is not as in-your-face as its genre name suggests. It is complex in its nuances and its distinguished musicality is subtle in its performance. It made me realize that rock music could be powerful and carry a meaningful message, but also modest and elegant.
2: Autolux – ‘Turnstile Blues’
I remember hearing this song and being immediately drawn to it. Crisp drum grooves and understated vocals so beautifully contrast power and vulnerability in a way I’ve never noticed before.
As I delved into the song, I became even more mesmerized by its hypnotic rhythms, as well as the distinctive bass playing and colorful, textured electric guitar.
I feel like this song above all the others in Autolux had a huge influence on the sound of the Lows. The interplay between male and female voices sitting atop a heavy pillar of drums and bass that supports the inescapable presence of the electric guitar.
3: Arctic Monkeys – “Why do you only call me when you’re high?”
Have you ever sat down and REALLY listened to this tune ?! The production, the mixing, the lyrics, the tones, the instrumentation; someone give me a fucking dictionary because I need to find a word that describes how amazing this is.
Fantastic? Remarkable? Sensational? They all sound a bit weak compared to this song and the rest of the album. Well, maybe it’s sensational doing it for me, but you get the point.
I heard once that when creating this album the band was trying to sound like the Spiders From Mars doing Mary J Blige. It really left a lasting impression on me because it made me realize how important it is to have sonic scope for a body of work like an album.
4: Lykke Li – “Get Some”
You might have noticed by now that if it’s dark, groovy, and rock in some way or another, I’m pretty much into it. Lykke Li is no exception.
I saw her in 2014 in San Francisco and it was like attending some kind of matriarchal black mass. I was born again and am a believer now. Well, at least in everything this sad Swedish princess preaches.
She got me hooked on her every word as she circled the stage, wrapped head to toe in the darkest shade of vinyl leather. It made me a strong believer in the school of thought behind the live show being something special to watch.
5: The Black Keys – “When the lights go out”
This is the opening track from the ‘Rubber Factory’ album, which I discovered in my formative years when I saw the music video for ’10 AM Automatic ‘while watching’ Rage ‘.
Since then, I’ve always been a huge fan of the Black Keys and all of Dan Auerbach’s production work. Also check out his other group The Arcs if you haven’t already.
This particular song was important to me because it underscored the fact that it doesn’t take much to make a really punchy song. Just a contagious furrow, which you can sit on most of the time and only deviate from shape when necessary.