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Nothing can foil the pigeonholing into a genre like a clarinet. The band uses this and other analog sounds to weave minimalism and maximalism, presenting recognizable indie or songwriter tropes before smashing them in their musical supercollider.
Geordie makes good use of a voice that's as smooth as silk and a delivery that promises the utmost reliability, but it's not making a discernible effort to distract from the wonderful glitchiness and complication that hides in the background.
Out of many odd cover-filled releases bands have ejected over the last year-plus, this is one of the most disparate and interesting, partly from the selections and the interstitial music, but mostly because it’s not what you expect from black midi.
I can’t tell if having a name that sounds like something SNL cooked up for a sketch about a pair of Austrian DJs is good or bad for this pair of Austrian DJs. These soulful electronic compositions unearthed from the last century are no joke, though.
Insistent angular weirdfunk, songs that sound like tape loops that have fallen out of order and yet maintain a diligent desire to be songs.
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