Unknown Mortal OrchestraSelf Titled
Spunk

New Zealand/Portland three piece, Unknown Mortal Orchestra have risen from the ashes of the 'Mint Chicks', with the bands beginnings as a simple one song bandcamp page to making waves in the independent journalistic world. With the likes of Pitchfork sending the band praise left, right and centre for their blend of break beat indie kraut rock. Now, with the release of their long awaited self-titled debut, the question lies whether or not it is worth the hype?

Opener and lead single, 'Ffunny Ffriends' is an excellent introduction to the album and the band (despite the fact I personally hate the lead single being the first track… But anyway) with it's bass/guitar synchronisation over a drum beat that sounds so perfectly tight that it sounds more like a drum machine than a real drummer. The song then transfers into an ascending reverb onslaught. The slightly disjointed main riff sounds as if it takes the more later 'pop' elements of Modest Mouse and mixes them with their earlier work in perfect harmony. 'Bicycle' follows and is a departure from 'Ffunny Ffriends' in the way it sounds more like a rock gem than an indie dance fest. Ruban Neilson's vocals are more along the lines of Kelly Jones from Stereophonics (but obviously not as wanky!) and the whole track sounds like it should have been what The Strokes should have done for their next album rather than the half-arsed effort that was 'Angles'.

Possibly the best track on the album, 'Thought Ballune' continues on and once again is in ways a departure from the track before it. It has a 60's/70's feel to it that takes elements of blues and psychedelic but does it in a more minimalist way than the stream of bands who have done it before. Once again, the drums are top notch here with the fills littered throughout the song being irresistibly cool. 'Jello and Juggernaughts' starts off as a slightly demented version of 80's African-American based sitcoms. It is smooth, funky and then turns into reverb rock while keeping that kraut rock break beat groove and at points, sounds as if it is more the work of an ageing drum machine than a human being.

'Sexx Laws'… I mean, 'How Can U Luv Me' is essentially disco with reverb instead of lavish horn sections. It is definitely a dancing track and flows rather well following 'Jello and Juggernauts'. 'Nerve Damage' starts with a proficient phaser driven guitar solo that drops in and out as the track progresses. It recalls bands of recent days such as Ariel Pink’s later output.

The bass in 'Little Blu House' is damn near impossible not to groove to. It is another cool track on the record which features a brief but interesting guitar solo. 'Strangers are Strange’ combines the best elements of "How Can U Luv Me' and 'Bicycle'. In some ways the track delivers with the smooth baseline and the walkie-talkie like vocal delivery of the verses but in others, sort of falls short in comparison to the rest of the record due to its similarities.

Taking out the album is 'Boy Witch' which starts with birds and guitar noise and then within 45 short seconds touches upon all of the elements of the album so far and evolves to a psychedelic feel that screams the likes of films such as 'A Clockwork Orange'. It is the weirdest song on the album as it pushes the bands experimental side all within 2 and a half minutes, but it is also one of the more enjoyable as it abandons the hip hop drum grooves and points towards sounds that are so 70's psychedelica it hurts!

As a whole, Unknown Mortal Orchestra’s debut is nothing short of an amazing listen. Like its cover art (Which is a building known as a Spomenik an advanced piece of architecture {The building on the cover was one of many Spomeniks (or 'monuments') that were erected in Yugoslavia during the 60's/70's to commemorate a number of notable sights of World War II [and to symbolise the strength of communism, some of the Spomeniks acted as communist headquarters and were used on a daily basis, but as communism declined and Yugoslavia became divided, these monuments and buildings became abandoned with a lot of them becoming run down with graffiti and people quite literally stealing the walls off of them to sell for scrap metal]} which looked into the future with its design and appearance. For some further interesting reading on the structure that graces the cover art, please visit: http://humanscribbles.blogspot.com/2010/12/spomenik-propaganda-or-pure-beauty.html) The album recalls elements of the past but takes them in new and interesting directions.

My only criticism of note on this album is the length. The whole album contains only 9 tracks and goes for exactly half an hour. I know we live in a day and age where digital downloading and what have you has stunted the brain capacity of today’s youth. Thus having shortened attention spans world wide, changing the album format to a less is more profitable ideal… But in order to send this album from a good piece of work to a great piece of work all it needed was just a couple more tracks.

It is without a doubt though a highlight release for the year. The feel of the album is one of something unique. The blend of kraut rock, disco and 70's influences mixed with modern day 'indie' stylings of huge reverb and jangley guitar riffs works on so many levels. There aren't too many albums out there that sound sexy and alienating at the same time all within half an hour.

'The Clean of Krautrock!' it's looking good!

7.99/10

Bradley Armstrong

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