the brainchild and solo project of
Dunedin, New Zealand, artist
and musician Peter Lewis.
Debut album "The
Hammerhead Nebula" was
released in 2006 to positive praise:
of keyboard wash form convection
which primitive drum machine rhythms
clatter. Spoken vocal snippets introduce
galaxial and other themes while a
prowling keyboard bass glues things
together. Sharkweek pulls back from
the brink of chaotic overload to
simmer with a repressed mania and
the effect is serotonin re-uptake
In 2008 the second album, "Egyptian
Lions" was released, offering similarly
lush soundscapes punctuated with
surreal samples, playful melodies
and manipulated found sounds. The
musical themes drift between ambient,
pop and dub. The songs are sometimes
dreamy, sometimes deliriously playful.
There's obvious evidence of Lewis'
musical growth, yet it's also familiar
enough to be unmistakeably 'Sharkweek'.
mystical journey through lands
afar ... trippy soundscapes,
psychedelic ambient dub, futuristic
space adventures and glitchy electro
pop .. an ear orgasm of sounds that
twist and turn evolving into a collection
of songs that is intriguing, beautiful
and a dose of epic electro trippiness.
It has an otherworldly feel, yet
warm and inviting, like friendly
aliens .. it's a trek into
the deep dark unknown."
"Sharkweek creates worlds
within which any number of stories
may be told. Listening to the tracks
on this album will educate the senses
and reorient one’s views to
the vast possibilities the ambient
mode can bring."
2010 sees the release of not one but TWO remix collections! The first is "Gimme Gimme Shark Treatment" - other NZ electronic artists - and the Illtronics from New York - are given the Sharkweek treatment and have their original tracks seriously warped. Ranging from progressive trance to ambient soundscapes both light and dark, from psychedelic lounge music to weirdo funky hip hop, this album has something for everyone.
"Sharkweek's first official collection of remixes for other artists will satisfy and surprise at the same time, With this collection, he takes on 7 diverse original pieces, dissects them, and puts them back together but not before applying his very own signature "Shark treatment" touch. There's hints of the familiar ambient and psychedelic sound-scapes in "Part Of Me" and "Far From Comfort" while on the other end of the scale, "Wii Break" is a serious full-on dance-floor assault. "Harmonia" is one of the standouts here - this gradually ascending journey of over 11 minutes starts out as deep, moody and intoxicated, but by the end is nothing but uplifting. Highly recommended listening from one of Dunedin's finest."
The second album is the much-anticipated "Shark N Taties". Eleven original Sharkweek tracks have been sliced, diced, liberally sauced, thoroughly chewed and then colourfully regurgitated by a range of NZ electronica artists.
From the playful fidget house of Haszari to the take-no-prisoners dark and heavy dubstep of Sick Cycle, from the lush ambient dub of Invader Tron to the minimal tech of nsu, this album has something for everyone.
As well as being a collection of new interpretations of old songs, this album also celebrates one of the greatest things about electronic music in New Zealand: the wonderful sense of community, networking, mutual encouragement, collaboration, and general swapping of ideas that we have here.
Spheres of inspiration for Sharkweek include outer
space, all manner of pop culture, and
infomercials. Musical influence comes
from varied sources such as The
Orb, Future Sound
Of London, Orbital, Boards
Of Canada, Lemon Jelly, Astralasia, Banco
de Gaia, and New Zealand luminaries
like Module and Pitch
Black. This eclectic mix,
coupled with some stellar guest appearances
from other musicians makes for an evocative
and sometimes surprising listening
page to hear tracks from