In Review: BIG YAWN – FUTURE TRAFFIC (FALLOPIAN TUNES, 2014)

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The songs are almost tribal in their simplicity yet also sound from an age we are yet to reach. The drums pound ritualistically. The synths flutter and swirl organically. They interchange from a punishing grind to heady danceable breakdowns from song to song. Think Tetsuo: The Iron Man blending with Avatar, or Asimov writing Heart of Darkness.

Big Yawn are an interesting duo. One part drums, one part electronica; the two parts combine and create something rare and important and unheard of lately. Tim Slattery and Kinlay Denning are the two masterminds behind Big Yawn, one is on the sticks while the other mans the knobs and dials.

Future Traffic is their first EP after an early 7” and a mix tape. All releases have come out through Fallopian Tunes, a Melbourne-based label fond of glitch and twitch electronica (Nimble Animal, Kellua, Yolke). This EP was released in late July.

The songs are almost tribal in their simplicity yet also sound from an age we are yet to reach. The drums pound ritualistically. The synths flutter and swirl organically. They interchange from a punishing grind to heady danceable breakdowns from song to song. Think Tetsuo: The Iron Man blending with Avatar, or Asimov writing Heart of Darkness.

It’s an audible meld of industrial tech-noise and free flow electro-jazz; it’s visceral and heavy and it has texture for eons. In my mind I’m picturing rogue AI, beautiful yet artificial systems, the blur between humanity and machine. The music of Big Yawn seems to be all about creating a simply operating machine, a perfect system. They soldered the mechanics and have it running smoothly, but it feels like it can turn ugly at any point. I love the use of live drums instead of drum machines – the snaps and clangs sound more real and threatening.

I recommend this for anyone after some serious glitch and whirl in their electronic music.

FALLOPIAN TUNES BANDCAMP / BIG YAWN BANDCAMP