With the release of their self titled debut EP, Tantrums have unveiled their own take on ‘midi-evil’ disco with their bleak aura and a unique soundscape.
Delay drenched, clinking guitars lay a smooth consistent road for the abstract, spaced vocals of this Melbourne band, economical percussion drives behind, minimal electronic and acoustic rolls playing against the outfit to further blend the journey; which is quite possibly a descent into space as the band lather electronic signals with reverb, and occasionally, delay effects.
The five track release announces the group’s impressive production skill, talent that also complements the band’s structured group dynamic.
Opening with the track ‘Maylands’, the EP grinds right into gear with their mechanical vibe, instantly reassuring you that you won’t be hearing the same nuisance synth sounds you’ve heard one too many times on Triple J.
Often erupting in explosion and implosion – some soundscapes suggest both – Tantrums impress easily with remarkable drum and key melodies as well as sculpted soundscapes to complement and emote – the song ‘Pikaia’ being the best example.
Oozing with originality, the release flows quite seamlessly, suggesting both high fidelity recording techniques and a well thought out and slaved over production.
Consistency also plays a vital role in the band’s unique electronic soundscape sprinkled with an impressive acoustic range that includes violins and a live drum kit.
The track ‘Unified’ stands out as a progressive up-beat jam that expresses the band’s emotive, low and slow frequencies, while exploding their lightly sifted drum and bass influence.
Overall Tantrums’ range and production put them above related electronic laptop bands of the Melbourne scene, and their latest EP proves that they’re just that little bit more unique than their peers.
