Let’s start the New Year off right with some next level music from Kalacoma. The five-piece from Australia is Nick Herrera, Alan Erpi, Marin Sekesan, Maria Moles and Benjamin Tansey. They recently released an exceptional five-song EP entitled Lost For Words. Lost For Words is a genre breaking release that proves you can still be original in this day and age. What it does is bring what most people would consider avant-garde or experimental music and make it accessible.
These aren’t pop songs with typical verse/chorus/verse structure but there are qualities here that make it easy to listen to. The music beautifully marries organic instrumentation and electronic elements that I haven't heard so well done since Notwist. For the sake of reference the music sounds at times like a hybrid of Radiohead and Amon Tobin while the vocals have similar aesthetics to Local Natives or Grizzly Bear. If you haven't clicked on the player below this review, I’d do so now.
The first track “Lost For Word” immediately caught my attention with the slick percussion elements, guitar and sporadic use of bass. It’s a fantastic groove and I felt hipsters worldwide would feel the same. The most impressive thing about this song is how they built it. They let the groove sit as they slowly add to the atmosphere. It builds anticipation as vocals are sung almost at whim. It sounds natural and free.
“The Contender” is on par with the first song in terms of quality. The vocals are more of a factor this time around as they utilize harmonies. Around the halfway point the song breaks down to serene vocal parts before going into an inventive rhythm and a barrage of notes that reminded me of the end of “Weird Fishes” by Radiohead.
“White Line Fever” starts off ominous with pure ambience. It dissipates and is replaced by cut up drums, vocals and pads that sound like that one singular manifestation of sound. The rhythms on “There For” is pure ear candy. They break off a wide array of sounds that you haven’t thought existed and place it right in you ear. The song goes in more places that I wasn’t expecting but it completely worked.
It was fitting they end with a sparse song revolving around a guitar called “Oxford Abel.” Somehow I know it wouldn't be standard though. As it progresses a beautiful dark synth comes into existence that gets more layered as time goes by. It all but envelops the guitar.
I have to say I’m blown away by this release. It doesn't sound like anything else out there at the moment I can think of. Anxiously awaiting a full-length.
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