by Conor Lochrie (@conornoconnor)
Toby Hayes has earned his dues. A true DIY musician, a student of music, he’s tried his hand at various genres and forms: he was the vocalist for the English post-hardcore band Meet Me in St. Louis; he left them to sing acoustic experimental pieces as Shoes and Socks Off; now he’s crafting off-kilter lo-fi pop under the moniker Laundromat.
Originally intending to release a full-length record, he decided that three EPs would work equally as well. There was Blue, released back in April, which first caught critical attention. It’s now followed by Green, released via Brace Yourself Records in November. The cover artwork for both of those records looked like Rothko paintings and, just like his art, there is far more bubbling under the obvious surface in Laundromat’s music than it first seems.
In just three tracks, he manages to conjure full-flavored textures that bely the snappiness of the EP. Lo-fi production ties the triptych together so it’s a testament to his innovation that so many textures and layers are in evidence on Green. Loops and harmonies worm themselves through the tracks, often from unexpected points and places.
Laundromat’s music straddles the work of both the 90’s and 00’s. His vocal delivery sounds very reminiscent of early Beck, all droll charm and dry wit: on ‘Nein,’ he keeps asking his audience, “We having fun, or what?”, and it sounds so effortlessly wry; he doesn’t really care if the answer is no because that’s not the point. As he discusses everything from the end of the world to mental health, he bellows out sardonic inner monologues that sound like the words of the man at the bar towards the end of the night, trying to engage anyone in conversation.
He also channels the quality side of indietronica like LCD Soundsystem, particularly on ‘Bureau de Fatigue’. The vocals are warped and whipped, the rhythm is pushed to the limits of repetitivity. That song is on cruise control throughout, an utterly crisp and clean ride. It even perhaps could be compared to Lonerism-era Tame Impala (the track also chugs along with the motorik tempo of Can).
‘Bug Eyed’ offers a melodic reprieve after the frenzy of ‘Bureau de Fatigue,’ a middle moment of light breeze. A lo-fi bubbling guitar attempts to break through the sunshine but it’s only momentarily successful; the sunny day styling wins out for three minutes. The aforementioned ‘Nein’ then consists of a somewhat anxious air (which makes sense why he ends up asking the listener about their enjoyment levels), its shuffling groove held together with a soft tension.
Red, the final EP in the set, is expected in early 2021. Will Laundromat turn moody and downtrodden, to mirror the connotations of that color? It’s doubtful, for his experimental pop belongs in the open expanses of the outdoors and daylight. As his tracks splash happily to their conclusions, there’s no chance of them residing in any shadows.