They’re back.
One of Australia’s favourite electronic duos, Sonicanimation, open their first release in six years with an uncharacteristically acoustic cover of Grandmaster Flash’s much loved track, “The Message”.
While initially it may seem strange to return covering such a classic tune, the intent behind Adrian Cartwright and Rupert Keiller’s creative decision to use the song as a prologue quickly becomes abundantly clear.
Once More From The Bottom is an album with a strong underlining concept; as the title aptly suggests, this is a collection of songs about hitting rock-bottom and living through life’s unspectacular moments. It ‘makes them wonder how they keep from going under’, if you will…
“I Will Be Twisted” goes on to exhibit the seasoned producers’ recognisably thumping beats and ethereal overarching vocal lines, narrating a bitter side to most traditional love stories.
Lyrically, “Devastated Heart” picks up where track two left off, propelling the album’s momentum in a series of satisfying breaks and beat drops. While there are some moments of vocal overproduction in this album, listeners’ cravings for thick, mid 90s synth beats and highly filtered harmonies are sure to be satiated.
What makes Once More From The Bottom most enjoyable, is Sonicanimation’s willingness to really play with the theatrics they have audibly developed over the course of their career to date.
While not quite in the same realm as their 1999 hit “Theophilus Thistler”, the almost ridiculously operatic refrains heard in “Twins” approach impressively deeper levels of experimentation for the duo.
“The Pick Up Artist” boasts infectiously catchy pop-electro loops, together with the following track “(Hey Lady) I Just Wanna Dance”, both of which pin floor-stomping criticism on the dating world existing in bars and nightclubs.
One of Sonicanimation’s biggest assets as a duo is their ability to express genuine cultural cynicism, while remaining musically uplifting and engaging.
Once More From The Bottom continues the Australian artists’ track-record for unconventional composition, sampling dub-step, breaks, and downtempo electronica that carefully constructs a closely personal and intelligent come-back album.
