Biography

Spring whispers in her cave, licking the frost from her child, singing hymns to the Strawman. When night comes on, the wind comes down from the hills, drunk and truculent, burning sackcloth and clothed in ashes. Ember Season calls and The Dark Arts follow. This is Gay Paris bringing you a very different party. Birthed in 2009 from the corpse of something that kicked and screamed until it died, this monster entered the world running with wolves and howling in the hills, spending its time loping about the dimmest haunts of the Australian music scene. This brute was supposed to be beautiful – but with such terrible tales and a voice like tectonic shifts – heavy, rough – things could only ever have turned out to be ugly. Gay Paris’ first record The Skeleton’s Problematic Granddaughter and ensuing touring schedule took this truculent sound to the people, heaping scorn on those who remained in the back row, celebrating the carnal, asking for everything. 2013’s The Last Good Party took this formless celebration and gave it shape – meaning, something to hold on to while one flailed about in the dark. Fans loved it, critics heaped praise on the more cohesive sound, likening the band to Clutch, Kyuss and QOTSA – more nervous individuals noted that the band was ‘hipster cunts trying to be metal’. On tour, Gay Paris attended to every State and Territory – often giving multiple satisfactions. The party could not stop – because everyone knows that animals cannot lie. This was indeed to be the last good party. Ladies and Gentlemen, May We Present To You: The Dark Arts asks that the listener suspend their disbelief – for the celebration continues, although this time, along far more sinister lines. Written and recorded over a period of 13 months, album number 3 finds Gay Paris reveling in the bones of the band that they were, fleshed out with carnal bass-lines, starving riffs and lyrics that possess a certain (if horrific) burlesque charm. The beasts are hungry. Bring your meat to the table.

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