- Digital
Big Yawn
South Preston Garage
Research Records
- Cat No: RRC02
- Release: 2020-09-04
Track List
-
1. Big Yawn - British Teeth
03:50 -
2. Big Yawn - Burno in E Holden
03:30 -
3. Big Yawn - 4 Dads
04:25 -
4. Big Yawn - Offshore Diamond
02:57 -
5. Big Yawn - Burton Bell
03:48 -
6. Big Yawn - Bad Boy 4 Now
04:07
16bit/44.1khz [wav/flac/aiff/alac/mp3]
Research Records presents Melbourne electronic quartet Big Yawn’s second contribution to the label, South Preston Garage. A title to honour the bands beloved bandroom, S.P.G compiles demos extracted from the studio for a digital release with a limited run of cassettes.
S.P.G embodies Big Yawn’s trademark pastiche, fusing together rich percussion and sweeping synthesizers that are recontextualised through an extensive shed jam. The band characterises the first two tracks British Teeth and Burno as “Big Yawn flavoured DnB,” with “refracted drum phrasing and unrelenting delays.” Cascading acid-tinged bass rules in the quivering 4 Dads; a venture into the band’s stockier temperament. The panoramic Burton Bell delivers raw and biting percussion, while remaining faithful to electronics with it’s layered sampling. The release then disperses into seaside rapture with it’s farewell Bad Boy. On Bad Boy, the band comment that the track “is perhaps our most melodic number to date, with heavily looping synths evoking a Hiroshi Sato/city-pop feel."
S.P.G embodies Big Yawn’s trademark pastiche, fusing together rich percussion and sweeping synthesizers that are recontextualised through an extensive shed jam. The band characterises the first two tracks British Teeth and Burno as “Big Yawn flavoured DnB,” with “refracted drum phrasing and unrelenting delays.” Cascading acid-tinged bass rules in the quivering 4 Dads; a venture into the band’s stockier temperament. The panoramic Burton Bell delivers raw and biting percussion, while remaining faithful to electronics with it’s layered sampling. The release then disperses into seaside rapture with it’s farewell Bad Boy. On Bad Boy, the band comment that the track “is perhaps our most melodic number to date, with heavily looping synths evoking a Hiroshi Sato/city-pop feel."