[ Flightless Records, 2017 ]
Flying Microtonal Banana is the first installment in the Australian band’s King Gizzard & The Lizard Wizard ambitious plan to release 5 full length albums in 2017. And if they keep it as fresh with the four remaining albums as they do with this one, the year of 2017 might be theirs. Their electrifying mixture of microtonal music, psychedelic rock and krautrock is like a bomb being dropped on the musical year 2017: an energetic take on psychedelic music with an ear for great melody and intriguing compositional ideas, especially the microtones, which provide a great, off-kilter quality to the already trippy rock amassed on the album. Flying Microtonal Banana is one hell of a trans-African trip that’s sure to take you to the Great Beyond and back. Highly recommended!
[ THRHNDRDSVNTNN, 2016 ]
If you’re more into airy, outsider house electronics than acid rock abandon, maybe you’d enjoy spending this Ghost Night [tm] with Shedbug, the Australian ambient techno whiz whose ambient-worshipping grooves fuse the future and the past into acid-influenced Eternal Now, hooked in an an endless repetition built around skeletal melodies and wobbly basslines that makes you wish they could carry on forever. If you’re a fan of Huerco S. or most of 1080p catalog, then Shedbug should be right up your alley. It’s the kind of ambient techno the genre needs – the one with a muscle. Acceptance doesn’t suffer from anemia – fear not. Recommended!
As difficult to categorize as he might be, if I was to indicate the most similarly sounding artist to the Melbourne based Tlaotlon (boring, mainstream name: Jeremy Coubrough) it would be Astral Social Club, the brain-child of UK’s notorious acid dropper Neil Campbell. Tlaotlon occupies the same messy, disctincly psychedelic mutant techno zones, with a penchant for meticulous sound production and tons of glitches seeping from every crack in the ethereal texture in the background. But whereas ASC turned more toward the noise end of the spectrum, Tlaotlon’s approach is much more subtle, going instead for a glossy, crystal-clear MIDI madness of modern day hipsternet and taking, as described in liner notes, a “multiple tabs open” approach. Which is pretty acurate – Natural Devices sounds like me opening random links from my e-mails and playing them at once. Very confusing, yet very relaxing.
Daaaaaamn, how do we name this new thing?! R-plus-sevenwave? Darkwebcore? Damn, I dunno. But this Orange Milk tape by the Melbourne based web-gazer Nico Callaghan a.k.a. Nico Niquo is surely inspired by the hyperreal sound. It’s almost like everyone’s trying to one-up each other in creating hyper-pristine computer-generated sceneries devoid of a single speck of dust, a single aberration. Shiny surfaces reflecting the imagined surroundings located high above, among the clouds, up in the sky. And sometimes it gets a little dancey, like the dystopian beats of Jam City at their most deconstructionist, but without losing its antiseptic, ultra hi-fi quality. Is this the future yet?
If you’re a sucker for droning, reverbed shamanic ruminations that often employ synthesizers and field recordings (and following Weed Temple, it’s pretty much a sure thing), then this cassette by the Melbourne based Popol Vuh worshipper Isis Aquarium will be the Manna from heaven for you. Issued on the fresh yet already very interesting (and promising!) Australian label Habitat Tapes, it is a joyous almanac of the visionary present, as told through analog circuitry with Germanic precision. If you don’t buy this, check out the label’s blurb: “a nebulous acoustic terrain that shifts from jungle fog to desert plain.” It’s like old-skool National Geographic magazine without any old NatGeo collages on the cover. Recommended!
The nickname of Australian knob-twiddler Ross Heily is similar to the word “crazy”. But it isn’t crazy. It is striclty disciplined and minimalistic synth music with a hint of progressive electronics here and there. 11 tracks where drones mix with deconstructed beats and technoisms. Recommended!