Superorganism – Superorganism Review

When I first read Superorganism described as a “DIY pop production house”, and that they sent their material to each other via an e-mail chain so they could add their own touches, the first thing that came to mind was a game I used to play in primary school. A piece of paper was folded like a leaflet, and then in groups, one of use would draw a head, then the next person would draw the body without seeing what the last person drew, and the last person the legs, creating some kind of monstrous creature. It’s an analogy that does correlate in a way to Superorganism’s self-titled debut LP, but instead of some ugly being, they’ve created a beautiful and fascinating alien of an album.

Superorganism is a kaleidoscopic exploration of colour, filled to the brim with samples and experimental sounds, making each track an incredibly layered one that awakens the senses; you can actually feel the music. Everything each member of the 8-piece added welds together pretty perfectly.

It’s All Good is the ideal album opener, introducing one of 2018’s most hotly anticipated bands’ weird and wonderful style, launched by distorted vocals and the theme of waking up – starting the album like starting your day –  only to continue with a shuddering chorus and a choir of eclectic voices. Reflections on a Screen and Something For Your M.I.N.D. use bird song samples against the quietly gloopy bass, and both tracks immediately feel relaxed. The more thumping tracks – like Nobody Cares – are experimental pop at it’s finest; you never really know what’s coming next, and although the track is jam-packed with new and interesting sounds, it never seems immature. It’s already as if Superorganism have been doing this for decades.

However, some parts of the album are a bit childish. The Prawn Song’s lyrics are odd to say the least, and the bubble samples and pitchy harmonies makes the track a perfect addition to a techno re-make of The Little Mermaid. Sometimes the trippy experimentalism can be a bit much – the discordant synths on SPORGNSM are dizzying, and Nai’s March is simply overboard. Usually it works, sometimes it feels forced.

The album starts with the alarm going off in It’s All Good, and closes with Night Time: a track carried by shuffling percussion and pops of synth, and is also possibly their most basic offering. The song transpires into a floaty electronic number, mixing pop grounding with ethereal and atmospheric dreaminess, before closing with a yawn sample, putting this *mostly* successful and hugely entertaining debut to bed.

Superorganism – Superorganism: 7/10

Ellie Chivers

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