These tracks aren’t so much music as a story told in sound.
The digital bleeps and reverb in these tracks make me feel like I’m escaping from some kind of space prison. The music follows on a twisting journey down aural corridors on Days Turn Into Weeks, ambling along with a plunky funk glitch and tripping over it’s own shoelaces in Master Of Time, and rolling out bass like a pizza dough on Wormhole.
Hailing from the freezing Kaiapoi region of the deep south, Accidental Earth’s standout sound is a permanent winter wonderland.
Dead, scarecrow trees, ice clear creeks, searing laser rigs pointing off into the distance and the sweet stench of high quality pegasol. Wrap up warm, find your shoes, and have a dance to this.
Trust me, you’ve NEVER heard tight funky rolling bass solos like this before unless you’re IN this band.
I listened to the opening lick of Apocalyptofunk before I had seen THAT photo, and I had ALMOST convinced myself it had to be a Korg making that noise. No one could play anything with strings like that. It sounds like Stevie Wonder grew another arm. Even now I’m trying to count the strings and it’s breaking my brain.
Drums rise and crash like an onshore break with a slippery, glassy guitar running shivers of delicate tremolo and folding thickly into a rippling wobble on the incredibly beautiful “Eleventh Element”, and the sepia-soaked “Kraken” conjures images of Phone booths, overloaded, sandy Kingswoods, Orange speaker cabinets and summers a long long time ago.
The Wizard Ari Freeman: Guitar, Vocals, Recording Fud: 10 String Bass Oscar Green: Drums
Lily Unsub Vs Alexis K – The Misadventures of Pillbourne Delaney.
There’s really only one word that comes to mind when trying to describe this sound. This release rumbles.
Strident bass and lashings of grinding guitar hold all the way through this incredible album release, sometimes breaking open to rich melodic keys only to sink back into a swampy glue of glitch and sawtooth wave.
The album kicks off into dubsteppy high end and rolls over into dark wave metal flavours, with enough overdriven gat to make me play it 6 times. Even now I’m trying to review the rest and I can’t stop playing the title track.
The soundscape takes a meandering stumble through many genre’s from the upbeat, wonky piano on “Sophies Breakfast Blues” to the more classic DnB format of “Blushing Pilgram”.
My personal favourite part of this album is the clean high end. Icy reverb, washing, brushy cymbals and muted drums, floating synth and ethereal vocals. If you’re in on an aural experience, you need to check this stuff out.
Recorded as a three piece around 2011, but still performing as a solo act here and there, Nathan from Will Tobias sent us three of their tracks to play and I nearly knocked my beer over.
With lurching, swaggering guitar in “Lady” and “It’s Alright In The Night” and a what sounds like a bar fight behind the drums at one point during “Captain Haddock”, the self described ‘alt / blues’ reminded me exactly of my Grandpa Uncle’s shed in the summertime.
I mean, I could SMELL this recording. It smelled like the carpet would never be the same.
They make music that sounds like it will devolve into some kind of horrifying, participation-compulsory performance art, leaving you to glance awkwardly to your friends and try desperately to dissolve into the back row before they find you and drag you on stage like some crude meat puppet.
If you’re not down with being the weird edgy kid at the traffic lights, you should stay away from their E.P Lemonade. The first track, Cancer Will Cancel The Party is a sure fire way to empty the house after your neices 8th birthday and will earn you scowls at the Burger King drive through.
Play loud, with copious amounts of Jagermeister, and stare angrily at normals through blue wafts of long beach king size.