Pansousiance

Rob Sinclair | Bevan Revell

Available to DOWNLOAD or as a PRINT-ON-DEMAND CD

Recorded during the first Covid-19 lockdown in New Zealand, the introspective tone of Rob Sinclair and Bevan Revell's Rattle debut evokes the familiar imagery of our post-pandemic world, and it touches on some of the many challenges artists face as they negotiate an increasingly uncertain world.

In the search for unique and interesting sounds to embellish the aural landscape of their recordings, Rob and Bevan developed a range of interesting instruments, such as the “potnang”, which was inspired by a gamelan orchestra instrument called “bonang”, and assembled from sonorous cooking pot lids. Various ocarina-like whistles were made from plastic jars and bottles of different sizes, and the recorder-like “suling” was made from a plastic conduit water-mains hose and vacuum-cleaner pipes.

Listen to William Dart’s NEW HORIZONS review here

Produced by Rob Sinclair, Bevan Revell and Steve Garden
Recorded by Rob Sinclair and Bevan Revell
Mixed and mastered by Steve Garden
Photography by Rob Sinclair
Photographs of Rob and Bev by Louise McDonald
Designed by UnkleFranc
Printing by Studio Q

Released: 10 August 2021
Catalogue: RAT-D114

Rob Sinclair was born in Dunedin (New Zealand) in the early 1950s. He learned to write music and play various instruments at a young age. His first professional gig was with blues trio “Serenity“ in the early ‘70s, then he joined the rock band “Schtung”. He moved to Auckland in 1979 where he collaborated with a number of contemporary music ensembles.

Since the late-90s Rob has regularly collaborated with former Shtung band member, David Bowater, with whom he has worked on a number of projects including the timeless avant-garde masterwork 3 Voices (1984) and the equally fine 2018 release, The Price of Fish.

Bevan Revell was born in Auckland (New Zealand) in the early 1960s. After a failed stint as a drummer in a high-school band, he surfed and skated his way to prominence while adopting an enduring counter-culture mindset. He busked his way through Europe and the UK doing stand-up in the late 1980s, strumming the guitar as a way to release excess energy. Since the 1990s he has primarily worked as a session musician, singer and prolific songwriter.