by Dan Goldin (@post_trash_)
For those who appreciate the bliss of analog synths, there are few bands as enjoyable and dynamically pleasing as New Orleans' Sharks' Teeth. The project has taken on many different faces over the past decade, but with each successive release (and there are a lot of them), Tyler Scurlock and company continue to innovate and progress their sound, never looking back from where they came. If 2016's It Transfers & Grows was bombastic and futuristic and Wissenschaftslehre V or Give Someone a Gift When You're Angry (released earlier this year) was ethereal and ambient, the band's upcoming EP, Orlando's Bloom, relies on a focused yet casual aura, the sound of "lounge" pop from another planet, easy going and genuinely immersive. Completed all on the original tape reel up until mastering, the record was made without computers, an electronic sound delivered analog. Imperfections in humidity and tape delay became one with the record, an acceptance of the natural world.
Due out November 9th via Community Records, you don’t have to wait to preview Orlando’s Bloom as we share three of the five songs from the release. Sharks’ Teeth present them here shuffled from the EP’s sequence, yet while taken out of the record’s context, the songs still work together to pull out the best elements from one another. “Bass VI of Love” is the pulse, toeing the line between restraint and itching to implode. Scurlock’s vocals crawl over the stretched and worn synths, using the tape to create a disillusionment in the sound. There are themes and common modalities that throughout the record, “Lantern Slides,” the album’s (and sampler’s) centerpiece brings some into being, the blinking melodies, the primordial bass warble, the delicate layering of everything as patchwork perfection. “Lost In The Costco” is tranquil in it’s manipulated tape effects and the way it greats the dawn, a whirring rise of majestic being, the start of something new, or in the case of this sampler, the end of it.
Sharks’ Teeth’s Orlando’s Bloom is out November 9th via Community Records.