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Abandoned construction site. Over-turned rocks, beetles scuttling out. Clouds gathering. You can smell metallic rain in the air. Broken trees lay still. A moth limps to the window and bakes on the sill. Tiny machines suddenly awake within watches and alarm clocks, all drawn back to their maker. Men start to roll up their plans, reports and blueprints, fitting them back into cylindrical packs. The seas are darkening and swelling in the North. Typewriters clacker away, blindly documenting. Everything is on alert. In late 2005 SubAudible Hum released their debut full-length album entitled “Everything You Heard Is True”. It was a dark, venomous abrasion on the guitar format that also managed to make time for sprawling sonic scenery and downbeat, melancholic intricacy. The record was a cumulative work gathered from the formative years beginning in 2003 and, rather than displaying a fragmented series of thoughts, showed the true diversity of one of Australia’s more progressive musical groups. Never being able to find a place in Australia’s ever-increasingly pigeonholing industry has strangely worked to SubAudible Hum’s benefit. With no template to work around and a complete lack of fashion-orientation the four piece have created a sound born entirely of their own thoughts and musical direction. It has also enabled the band to play along side a diverse array of contemporaries including Okkervil River, Gersey, Blueline Medic, Deloris, Black Cab, The Morning After Girls, Eskimo Joe and Speedstar to name but a few. SubAudible Hum write from that mysterious void between emotive art and didactic thesis. The subject matter is always of paramount importance but never at the expense of listening pleasure, in fact SubAudible Hum may just have found the harmonious middle ground between the two. Any modern day themes of global politics, dirty economics, fundamental agendas, and social degradation are always communicated with music, never using it as a soapbox. Stepping into 2006 SubAudible Hum have a whole new take. Having purged much of their structural and self-imposed stylistic constraints the SubAudible Hum sound is now less definable than ever. Swinging from drawn-out orchestral opuses to quasi-UK indie trash to dam bursting, almost trip hop anthems, SubAudible Hum are exploring every crevasse of their musical ambitions. Source: Low Transit Industries