On the lucky Friday of last December 13th, Perth-based duo Rupert Thomas and Lyndon Blue released their self-titled EP -Spirit Level under Pouring Dream. A compilation of 4 songs exhibiting the duo’s gripping and unique creativity of sound, marrying various elements of genres happily (hopefully ever after).
Carefully orchestrated guitar, keys, drum machine and at times vocals are the main components of production. Lo fi static white noise effects are combined with multiple other knob-monitored sounds which in “Storied Waters” somehow justifies the title.
“Is You” is the EP’s longest track. It unveils the duo’s ability to pleasantly disperse a content which does not strongly varies, yet enabling close attention. The vocals are following the organ-like key notes. Then an unexpected drum pattern submerges and changes our perspectives of the song’s expected destination. Keys are resonating cheerfully. A low pitch upfront synth varying between two notes pleasantly misbalances the playfulness of the vibrating high pitch effects, until the seemingly vulnerable vocals softly appear, grabbing one’s full attention.
“Fly, Fall” opens up with reversed guitar melodies. Someone appears to be moving backwards, going back in time and revealing a memorable event. There is a large, wet reverb on the vocals, overheard from far away, forbidding us to grasp the lyrics, purposely? It creates the idea of a voice sampled from an old record, long forgotten but sacredly returning by fault of importance. And then this snare, directing a flawless tempo, positioning itself sneakily in-between the second and falling back on the fourth beat.
Holy Lotus is Leonie Brailey (drums), Lucy Donovan (keyboard/synth) and Greg Taw (bass), all contributing with vocals when needed. The trio’s two song cassette/digital release includes “Olivia” and “Breakfast Records” and make for a very aquatic adventure into dreamy pop. Low winded howls and crayon textures extending for pages, sometimes coming together, sometimes dispersing autonomously.
Released under Pouring Dream, the two songs are quite different and vary within. “Olivia” beautiful, nonchalant airy voices singing “come over here” and hooking “wouhuu, wouhuu”, confessing their desire to recommence a once -wronged love story.
“Breakfast & Records” is most of all a merry symphony of bass and guitar, looping itself until meeting again with the lady singer. It is love again, and church organs conflict with the emotional disconnection and lust of the vocal protagonist.