Catalogue Number: NWAED04
Released: November 2010
1. Anomie 05:09
2. Anomie (Collarbones Remix) 02:25
3. Anomie (WORNG Remix) 05:54
4. Anomie (TANTRUMS REMIX) 03:40
Jade McInally: Vocals, Bass, Guitar, Keys
Sarah Phelan: Beats, Synth, Production/programming
John Nguyen: Keys, Beats, Guitar, Production/programming
James Campbell: Drums
Sleeve design by Heath Killen.
Inlay Artwork by Oliver Hunter.
Photograph by Nicola Trethowan.
New Weird Australia announces the fourth release in the artist release series New Editions – the debut release from Melbourne’s TANTRUMS, titled ‘Anomie’.
A shared love of artists such as KRAFTWERK, DEAD CAN DANCE, NINE INCH NAILS and PANTHA DU PRINCE informs their ‘midi-evil disco’ / industrial sound, which – through reviews of their live shows – has invited comparisons with HTRK, SIOUXSIE, IKE YARD, TELEPATHE & PiL.
Setting forth with reverb-drenched vocal, spun through an echoing vocoder, ‘Anomie’ steadily layers washes of synthesisers – seemingly gaining ground note-by-note – and almost stubbornly refuses to show its hand. Each player waits their turn, before breaking into a final rush and flourish of electronic and organic instrumentation – showcasing the full spectrum of sounds now at their disposal.
‘Anomie’ comes backed with remixes from COLLARBONES, WORNG and an ambient makeover from TANTRUMS themselves.
“‘Anomie’ sees vocoded tones trailing out over a backdrop of ebbing, doomy keys and drones that’s lulling and menacing at the same time, only for distorted drum machine rhythms and explosion effects to suddenly lock into precise focus as the track begins to ascend towards a fiery conclusion amidst clattering live drums, eerily delicate piano keys and distorted pulsing digital effects … an impressive debut offering from Tantrums that left me wanting to hear more from this Melbourne band.”
Cyclic Defrost, March 2011
“An amazing piece of ambient, experimental music that gives a big nod to Justin Broadrick’s Final alias. Simple, repetitive piano stabs and guitar drones are interwoven with heavily bit-crushed, distorted beats that are spaced so far apart that they almost blend into the atmospheric textures of the guitars and pianos rather than propel the track along. Stunning.”
3D World, February 2011