PEVERELIST & HYETAL: "rrr" / "THE HUM"
"The Hum" starts off sounding like a cloud of metal smoke drunkenly swirling over a mosaic of tiny broken glass fragments. Everything's tinkly, shiney, forever shifting. Trapped in a snow-globe with nano-machines.
Around a minute in, there's a modwheel-warp'd Casio fanfare and it's all change: all aboard the bus to Sayasuwedo! I just made that name up: the percussion-rhythm has a loping bounce of uncertain provenence, an imaginary ethnicity that might be Latin, might be African, might be Bristol on a stoned tuesday night - a 7-wheeled kartoon taxi axle-clacking its way dn Park Street. Bongos ahoy!
More Casio-ish interjectns; more tinkling-glass loops; flangey-sounding flute preset type sound darting around like a stoned dragonfly. Sounds fall out their own pockets - trickle, drip and slide - the track leaving a musical spoor-trail behind itself, a trail of glassy sand fragments.
It's like visiting a country that you'll never visit. A street-scene that doesn't exist.
"rrr": Oooooh, I really like this. Pitch-shifted kazoo, ethno-reed-instrument or a grizzling insect-baby? Don't know, don't care. A string-pad wobbles slowly, chasing its own shadow into the bottom of the mix. Ghostly / ghastly fanfare. Ratatatattting pecussion. Clunks / clicks.
Oh, yes. Where's this going now: shimmering echo-perc, a snapshot cross-section through a Latin drum kit. Ghost horns going upstairs, one step at a time, up to a landing. A gallery. The mosquito baby returns. A cascading motif of tinny-sounding Casio squarewave synths.
And just when you think it can't sound any better / cooler / more interesting, the track seems to find another layer, some other little alleyway to explore.
Immaculate programming / labyrinthine arrangement.
Man Like Me am v. happy.
Out in Mid=Oct. Buy it, pogo-people! Progressive ol' Punch Drunk, innit.