I hope the three blogs this weekend make up for my little absences... I'll have many more reviews coming. For now, I am so excited to write about, who I believe, is probably the most innovative and exciting band to come out of Phoenix for a long while. Send any music shit to [ fosterhildingmusic@gmail.com ] or DM me on Instagram.
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| photos courtesy of Feedbacker by Elijah Seger. |
Feedbacker, untethered to reality and unnecessary standards, are a constant, messy, jolting beast--every step in every song unexpected yet so fitting in a genre that knows no bounds to contract them. Resting for Years, Decades, Centuries, being their first EP, successfully proves this to the greatest extent. Drenched in crushed synths, blaring 808s, caramel vocals, and glitching distorted guitar, it's a textured and winding introduction to their promising musical career. Nyle of Dead Mothers Collective constantly pushes himself to extend his range of eclectic production skill--this release being the furthest from his others yet, and done masterfully.
345 begins in ascending waves, blasting distorted guitars, and Lily's ghost vocals. Everything that comes after builds atop it, Jack's every move on a thousand orchestrated devices the last expected addition, down to the wisps of arpeggiated and delayed guitar that close it. The drums in this track are absolutely incredible, and the noisy, dissonant tension that calls them into existence their perfect introduction.
Hanna is probably my favorite track. Bubbling and atmospheric under Jack's thin guitar, its enormous, glitching drop-off into oblivion is only hinted at by Lily's belted yearning. I specifically love the noise in this track--room mics are left on during talking and little noodlings on the guitar. It makes the perfect transition into the static, maximized, and floor-board creaking synths that surround Jack and Lily's every move--like sonic wizards defending the soul of their music from unseen digital entities. Of course, the appearance of that fucking bucket is one of my favorite moments, especially under the lines, "Love me for who I am, not who I'm gonna be."
Kakapo yearns to be played in weirdo clubs and rave. What I can only believe to be Lily's voice is sampled and splattered over pounding 808s and indecisive kicks. A saxophone starts as a slow release from dancing noise, joined by a clean and dreaming guitar. Lily's voice is incredible here--powerful, heavy, and nothing short of impressive. I love the iPhone text message tones in the ending...
Blutrick's introduction sounds right off a Gorillaz album, but quickly diverts that into a spy-theme jumble of sax-lead grooves complete with perfectly chopped drums and a depressingly low and meaty bass. Jack's panting and screaming saxophone is awesome here, their breaths between each phrase somehow so clear in a room filled with noise.
So What Now? pulls back in intensity and pushes forward in feeling, Lily's singing upfront and in your face, low and blue under a crushed synth that floats from one ear to the other. The clock-ticking remains of drum samples act as a dinner bell for the hungry beast breakdown of slow distorted panicking guitar and drums saturated to fuck in the perfect way. It's full, creaking like a shipwreck, and done with precision that is anything but. The perfect closer.
Lily and Jack are a supreme noise pop duo--lyrically attainable and catchy, while still pushing every boundary provided to them in sprawling, noisy, obscenely Feedbacker fashion. They are constant in their push and forever in their uniqueness--a quality you'll rarely find in any other musicians.
9/10
-Foster
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