Triptychs — Mirror Escape
Talking introspection, their latest release & Palestine
♫ — by chloe & bethany
Thick with distortion and drenched in sullen emotion, Sydney’s very own Triptychs blur the line between hardcore, post-punk and something entirely their own. With Isaac’s lyricism and vocals mirroring the vampiric moodiness of early Nick Cave, backed by heavy walls of bass from Max and Thomas’ striking drums, Triptychs are clearly here with purpose and clear intention.
From playing intimate sets at Lazy Thinking, to commanding performances on the Oxford Art Factory main stage, this band has steadily been carving their place within our thriving music scene. Their dark, post-punk sound is moody yet propulsive, sharp and delectable for the heart and mind.
Starting as a chance meeting at a Griffin Ford show a few years ago, the first sparks of Triptychs were ignited when lead guitar/vocalist Isaac and now bassist Max instantly connected.
ISAAC — “I had talked to him and found out that we had a lot in common musically, and then I finally saw him play and I was like … wow”.
Additionally (and in true rock’n’roll fashion), Isaac had put up a handwritten poster in the window of Newtown’s very own Egg Records, calling for like-minded musicians to start a band. The add caught the eye of Thomas, who would then become the groups back-bone drummer.
THOMAS — “I was record shopping with a friend and had just moved down [to Sydney] so I was in a ‘say yes to everything’ kind of mood. So I saw the ad, got home and called the phone number and had a quick chat with Isaac”.
Through jittery anticipation, overflowing ideas and an unknown future ahead, Triptychs was born.
From the very beginning they have quickly set themselves apart from other bands within the Sydney music scene. Instantly intense stage presence paired with a uniqueness that matches the raw, demanding power of their sound, we get a brooding, all-consuming wall of post-punk goodness that engulfs any room they play.
THOMAS — “I think a lot of what Isaac is writing is very different to what most post-punk bands in Sydney are writing. I think people are focused on the moodiness of it, [where] Isaac’s kinda tapping into something else”.
Despite being fresh to the scene and only just scraping the surface of what they can provide, this band has already captured the attention of music fans and gig lovers alike, their new and enticing style of music never seeming to satisfy as we keep coming back for more.
Their steady climb in popularity and frequent live shows has recently reached new heights, with the release of their debut album, Mirror Escape. Releasing in June of this year, it’s undoubtedly a powerful statement of intent, capturing the urgency of their craft and presence while revealing a more introspective, atmospheric side to their music.
Nine songs and thirty minutes of deliciously cohesive sound, this album is a streamlined yet striking project that blends grit, grunge and post-punk tension into something unmistakably unique. It’s the kind of record that grips you from the very first note, tearing you down before rebuilding everything back up again: louder, darker and sharper with each listen.
Taking over a year to write, record and refine, that patience and precision has paid off immensely, with the result being a project that feels alive and deliberate. Capturing chaos and uncertainty, paired with the nuance of their evolving sound, Mirror Escape infuses previously released singles and unearthed hidden gems with full creative force.
ISAAC — “We were sitting on these songs for a very long time and it just got to a point where I think we all just wanted to get them out [and have] a body of work to look back on and be really happy with”.
Tracks like Mutiny come at you hard and fast, a sludgy and commanding blend of driving riffs and gripping vocals delivered with a threatening intensity. It’s a song steeping in controlled disarray, where every beet feels like it’s teetering on the edge of collapse… Yet beneath the distortion lies a sense of predatory purpose.
Meanwhile, Bliss Brigade is a complete detonation of sound, a head-banging stew of snarling vocals that cut through distorted walls while breakneck drums drive the song forward with a relentless energy that can’t seem to contain even itself.
Then we’re given tracks like Sun Come Down, where the pace softens into a haunting spoken-word ballad that recalls introspective storytelling, reminiscent of peak Hunters & Collectors and even the Radium Dolls yet still undeniably pulses with the brooding tension that strongly defines their music and essence.
The final song on the album, poetically titled Slow Dance (Finale), is a clear standout not just for us, but seemingly the band themselves. It moves between tenderness and fury, a whirlwind of contrasting tones that keep you suspended between chaos and calm. This duality and nuance in their music successfully captures their ability to command emotion without ever losing intensity, picking up where needed by stripping back to allow other moments to shine.
THOMAS — “It’s just a really nice, cozy piece of cohesion. I don’t listen to a lot of what I put out very often, but the few times that I’ve gone back to the Triptychs album, it’s like a neat little package. It encapsulates us at the time we made it and it’s perfect because of that. It’s not a perfect album, but it represents us, and that’s all it has to be.”
ISAAC — “I think that it’s also really nice to have something that people can sort of bite into after a live set as well. I wasn’t super happy with the first single we put out, the second single I think we started to get things right and then with the album, I’m just really happy with it in its entirety”.
Heavily influenced by the grit and grime of bands like Iceage, Low Life, and Rendez-Vous, Triptychs have simultaneously channelled these inspirations into something distinctly their own. They put out time and time again an utterly raw, aggressively unique take on the genre that feels both familiar and entirely new, balancing darkness and drive in equal measure and a refined sound for audience to not only hear, but experience.
ISAAC — “Thomas adds a lot of complexity that you find from hardcore and a lot of other sort of heavier genres, [it] really gives a lot of character to our music and imbues it with a whole lot of energy that I think just isn’t present in a lot of other post-punk music”.
Fuelling their sonic evolution and community presence is their genuine and very real passion for the local scene, never failing to hop on a line up to support a mate or shoutout a new release.
ISAAC — “I think there’s a sort of Sydney scene that’s semi-coalesced, where a lot of people are doing and thinking the same sort of things. And you can sort of bounce off one another… like, Bennetts Grove, Our Mutual Friend, and Juno Eclipse, I love them. Sacred & Angel Grindr… We’re big fans of Belvedeer of course, rest in peace”
THOMAS — “Monkey Dot was incredible to play with and witness live…they’re another band where you’d listen to them and just be like, ‘oh… I got to write better stuff now’”
To celebrate the release of their debut album and give back not only to their fans but the wider community, Triptychs organised a DIY fundraiser show for the Palestine Australian Relief and Action (PARA) in July this year.
True to their passionate ethos, the night wasn’t just about playing a gig, it was about using their platform for something bigger than themselves, sharing the stage with Heaven Cell and Angel Grindr.
THOMAS — “I think, the three of us are on different levels but all very political, and try to get politically involved as much as we can. [For us] it was a matter of, “Oh, if I can just do a little bit of good today, why not?”. We were gonna play a show anyway and if we can help people because of it, we might as well do it. I don’t see why not.”
Raising an impressive $525 for PARA it added to other calls for action, calling upon others within the scene to stand up, speak out and aid Palestinians in their fight for sovereignty.
Serving as a reflection of social values and a tool of resistance, the inherently political nature of music is only amplified with shows like these. Thomas elaborated to us how the complicity of our government is a key factor in speaking up when you’re in a “smaller and more independent” space:
THOMAS — “I think it’s important that we not only march in the street to tell our government that we don’t like it, but we also use art to say it.”
The night was a true testament to not only the character and conviction of these boys, but also to the enduring power of music to bring people together, spark awareness, and make real lasting change.
After the success of Mirror Escape, Triptychs are keen to develop their sound, enhance their performances and immerse themselves further into the community they value so much.
THOMAS — “Speak to people, say hi after shows. If you see someone a lot at shows, say hi to them. Follow people on Instagram and DM them, swipe up on stories. You never know what can happen.”
ISAAC — “You might even start a band.”
In terms of what’s next, they have a split EP with Heaven Cell coming out on the 28th of November, which is sure to be an amalgamation of intensity that will fill your ears with frenetic and harrowing music, something that we simply cannot wait to hear. Definitely one for the calendars!
Nonetheless, this is a band that entices and refuses to let up. To catch a Triptychs live show is to experience introspection and revelation in the form of fast paced, heavy hitting sonic gore, something strikingly unique and deliciously good. Get out there, listen and learn: you will not regret it.