Electronic music is often the butt of jokes, whether for being overproduced, “a computer isn’t an instrument!” creation, or for being the stuff wild raves and club scenes are made of. There is a kernel of truth to be had there in some cases, but one glaring exception to this comes in the form of Australian producer David Thrussell, known by his stage name Snog. Following an extended period of mental health crisis, Thrussell bounced back with the help of a renowned therapist, and came out of a would-be retirement with a hypnotic new album, Lullabies for the Lithium Age, as well as a companion EP of sorts, Spaetzle Machine.
Between the two releases, we get thirteen tracks of smooth electro, with bits of post-punk and industrial thrown in to drive things along. Even if things take a chilled out, lay back and let things come over you approach, there’s a lot of emotional weight that settles in. The affair is contemplative and wandering, a bit of self-discovery and coming to terms in musical form.
The album starts off with “The Reaper,” with its spastic hi-hat patterns and post-punk vibe. It’s a chill groove that carries into one of the strongest tracks on the collection, “Ball and Chain.” Here, things take a turn towards a trancey vaporwave of sorts, with Thrussell’s voice low and barely whispering. More hi-hat hijinks ensue in “Cog,” complete with more vocal effects and an uneasy listening experience. Things go towards the dark side just a little further on “Spaetzle Machine,” with its four on the floor groove. The synths buzz, the vocals feel just that little bit sinister, and not just because part of the song is sung in German.
And before anyone thinks that spaetzle is evil… it’s little dumplings. Like the German equivalent of elbow macaroni. And there’s my yearly “hey, I have a degree in German and I’m using it for good” done. To be fair, last year was Rammstein.
“Sweet, Sweet Treacle” sways along, a sugary-sweet trance full of bouncing synths and an old-school vibe. The one-two punch of this track and “Spaetzle Machine” is one I didn’t know I needed, but I have it and I’m very glad for it. The next track “Birthday @ The Mall” is mostly instrumental, and a going nowhere, wandering an abandoned shopping mall track. At different points, pipe organs pierce through the monotony. Arpeggio-looping guitars drive “Tear It All Down” along, with the whole composition feeling like the persona is teetering on the edge, embodying the mental health struggles Thrussell experienced.
If the last track wasn’t unnerving enough for you, “Lee Harvey Oswald” sure will be, given the subject matter at hand and the delivery of such. It’s an odd man out on this album. “Savingseeds” builds upon itself over time, but maintains an ominous edge throughout its five minute plus runtime. Finally, as far as Lullabies is concerned, “Death Is Only A Dream” sees some scaling synths, before adding in organs and choral elements to another vibing, riding gently on the wind affair to close out the album.
First up on the EP is the Mega Mix of “Spaetzle Machine,” about twenty seconds longer than the album version. Perhaps more so on this version than the original, I can detect some major Kraftwerk vibes, or at least an old-school electronic feel. After that comes the Revolution Absolution remix of “Sweet, Sweet Treacle,” which benefits from a bit more reverb and some added production value. To wrap things up, “Ball and Chain” gets some added synthpop vibes for its Sunset Mix, giving the track some more atmosphere and fullness.
Lullabies for the Lithium Age and Spaetzle Machine are both available via Metropolis Records.
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