Speak Into My Good Eye

Album Review: Electric Wurms – Muzik, Die Schwer zu Twerk

Brianne Addison August 20, 2014 New Music, Reviews No Comments

electric wurmsClose your eyes. Now imagine a gargantuan flying contraption comprised of colorful mechanisms too intricate for the human mind to comprehend. This contraption— this machine of the desolate sky— is a translator between our earth and other dimensions. Electric Wurms are here to explain the complex beauty of this machine’s process. If you’re into that sort of thing— expanding your mind and allowing it to stray down a galactic pathway— you should definitely keep on reading (and then go check them out).

The band’s debut LP, Muzik, Die Schwer zu Twerk, begins with “I Could Only See Clouds”, a charismatic first chapter in this trans-dimensional novel. You hit the play button and the hum of what sounds like a dishwasher operating underwater slowly reaches your eardrums. It is distant and obscure; a gurgling submersion of an intelligent compound paddling closer and closer, concealed behind a mask in the murky galaxy. You strain to see where this will go, then BAM! A rainbow of zesty percussion and electrified guitar, from psychedelic rock band Linear Downfall, blares and you are blasted into fourth dimension. Enter the celestial vocals of Steven Drozd and Charlee Cook, the hypnotic keyboard of Drozd, plus the exuberant bass guitar of Wayne Coyne, and you have the final ingredients to whisk you aboard this fantastical adventure.

The next track, “Futuristic Hallucination”, places a slow, melodic hold on the mind, as one imagines the gargantuan machine navigating through a forest of waltzing seaweed Neon clouds paint the sky and float gently past. Every so often the underwater dishwasher sound appears, reminding you of the machine you are aboard and the purpose it serves. The pitter-patter of drums mixed with eerie strums of a guitar or keyboard, filtered through a synthesizer, resembles communication between different life forms; like whales floating around in space, like indistinguishable spheres muddled underwater. There are no vocals in this track, and it is perfect like that. The waves of sound explore the depths of the mind and images of extraterrestrial beings surface; futuristic hallucination. In the background of the ebb and flow of hypnotic instruments, the tittering of drums and cymbals patters on.

This is truly a very serene song and leads perfectly into the next one, “The Bat”. This effort, for me, was a continuation of “Futuristic Hallucination”, only it takes on a more ominous tone. It is a sped up serenity. Dish washing machine remixed with cymbals and drums… electric guitar protruding in intervals… a “hip-hop drum meets tribal” echoing in the eardrums. The vocals in “The Bat” are ghostly and keep pace, like an extraterrestrial march of time and space. A chanting, a warning, as shaky as the keys filling the gaps between percussion and vocals. Eerie keyboard chords wobble to the wavering static tune that comes in sharp waves.

“Living”, the second time, takes on quite a different tone altogether. Turbulent static and subtle drums gain momentum until oriental chords of a keyboard chime in and mingle with Drozd’s and Cook’s ethereal voices. A strum of electric guitar, and deeper oriental keyboard chords, some of which give off the sound of a violin, collide in an exotic intoxication of the senses. It ends with the blow, of what sounds like, a didgeridoo.

The final two songs, “Transform” and “Heart Of The Sunrise”, are definitely my favorites on the album. “Transform” is equal to what I would call “jungle funk”. Wailing vocals pierce trough intense and rapid percussion. It sounds like something one would hear at a festival in the 70’s, and brings one on a journey through a psychedelic space jungle, complete with spiraling roots and marmalade colored chameleons. Coyne’s bass is subtly influential on the overall feel of this song. It brings flavor to the drums, spices up the vocals, and adds a deep, overgrown quality to the track as a whole.

Beautifully played out with suburb timing in each nook and cranny, Drozd and Cook cut out the front end of Yes’ “Heart Of The Sunrise” and emit angelic webs of galactic energy pulsating through the soft beat of drums and cymbals. Guitars strum softly along with the melody as one imagines the great flying contraption anchored and bobbing in a sea of blue clouds. You have made it through the journey that is this album, and survived; this song welcomes you into your spiritual freedom.

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