Yes Indeed The emphatic duo of Laurie Tompkins and Otto Willberg return for their third release, rotten luck - a record we fell in love with watching the duo, synth player and bass shredder, gleefully headbanging in time, shrouded in the much beloved fog of spanners club. Their first lp exorcise, clobbered those that dared drop the needle with a brand of shrieking dadaism that lay impermeable but to the insane. It freaked us out, that cacophony soup.
On "Rotten Luck" there are tunes instead, good ones, meaty ones, soaked in bass riffs and lairy lyrics. There are hooks to grip on to and little silly grins to catch in the gloaming synth holds. Listening to Willbergs squelching synth slap on our dads, recalls blue gene tyranny, particularly any fine afternoon' - a goofy kind of song whose bass line could be a dosed up version of the theme hospital soundtrack.
Awe has a kind of dreamtime energy to it, its jazzy double bass laced with wavy keys - deep warmth dipped in strange glue. Primarily a composer, Laurie Tompkins is one third of the energy behind pop mulchers slip. In the year between yes indeed releases, tompkins has done 3 more cds (3333, entracte and hyperdelia), in a marvelous flurry of productiveness. Otto Willberg is bass player in ray (alongside ashley paul and yoni silver) and historically fucked - a band who make songs as quick as they can and tear them down even faster. The mutual ground between the two is rich then, in pop, rock and the nonsensical. On "Rotten Luck" it seems at its most fertile. Weirdness isnt a mask - its not self conscious. Its headbanging without realizing it, slaying your arranged oddities with your mate, grinning the whole time and giving that out generously.