Radio Undergrowth is proud to feature Spoonbill as our first regular artist of the month to celebrate the release of his album Zoomorphic across the country this month.
As a sneak preview of the album, we are featuring the track Bunkerfunk with it's belly of a whale bass line, stilted soul vocals and gentle synth, almost makes you want to wrap yourself up in it's lyricless glitch aesthetics. Listen here.
Melbourne artist Spoonbill AKA Jim Moynihan is by far one of the most original electronic producers in Australia, creating a truly unique signature sound that blends a wide range of styles and influences, but remains undefinable due to it's anarchic originality.
Released officially this month, Zoomorphic is Spoonbill's third full length album, after the critically acclaimed Megafauna (2005) and Nestegg (2007) and demonstrates sonic progress with an increasingly confident production aesthetic, added to with mastering by US glitch maestro Tipper. These songs are awash in thick, crunchy bass lines undulating through the spine of the album, sprinkled with rich and complex glitch textures that click and creak over the surface of your frontal lobe and finessed with catchy melodies to lose yourself in.
The album is full of Spoonbill's playful composition structure, which constantly aims to surprise the listener and keep you smiling while you soak up its sonic inventiveness. It is this sense of fun that shines through the music and sets it apart from many other electronic producers, even the album's press release is a lot of fun to read in it's attempt to express the manic cornucopia of it's listening experience. In their own words:
"The Zoomorphic experience is crafted from an intricate web of edited studio recordings of exceptional musos melded with found sounds, foley folly and synthesised materials, much of which was captured while recently touring across US, Canada, Europe & UK. Squishy pulsating bass lines carpet the undergrowth, while dirty squelchy synth licks frolic in a warped menagerie of neurotic cyborgs, rattlesnakes, sirens, champagne froth, fireworks and crushed eggshells. The jamboree coalesces to form a single groove shrieking beat-creature, covered with feathers, scales, bells and whistles. Zoomorphic is a diverse musical mutant for late-night dancefloors, introspective train-rides, and everything in between. This fresh batch of Spoonytunes will captivate fans of glitch-hop, IDM, breaks, psychedelic electronica, folktronica, dubstep, trip-hop and more, but the Spoonbill's mighty call can't be pigeon-holed into any single genre. Some folk call it 'vaudeville electronica', responding to the jovial carnival feel like circus clowns with lobsters in their pants."
Stand out tracks from Zoomorphic include the insanely twisted opening Woodenspoon which sounds like the squeaky sub bass flutterings of the kooky collaged bird from the albums cover (created by Johnno 'Dropbear' Chong, Spoonbill's VJ and longtime creative collaborator) and melodically propelled with a juicy bluegrass slide guitar into a bouncy flightpath.
Mangle Boogie Bangle, an amped up remix from Megafauna's "Boogie Bang Bang" which is a great example of how far Spoon's sound has come in the last few years, pushing the quirky, glitch funk that he has pioneered into ever more luscious sonic territory and tighter production values. Feather Leather, featuring the squawking ragtime trumpet of Melbourne virtuoso instrumentalist Mal Webb and has the albums funkiest moments. The playful Wonkball, which careens somewhere between amphetamine ping pong and a funkier version of Aphex Twin's 'Bucephalus Bouncing Ball' to the pumping megatronics of Tiptoe Loudly, which sounds to me like some kind of bass powered superhero ambling it's way over the urban landscape of TV warehouses, crushing marauding poker machine monsters and the bland monochrome dreams of concrete coloured minds before returning to it's roots in the dusty dancefloors of bush parties.
Altogether fine batch of freshly hatched beats from the Spoonbill's madcap imagination.
Eat 'em up!