Bdrmm – ‘Microtonic’ album review: dancing in the face of dystopia
THE SKINNY: For the past few years, Yorkshire has introduced us to some of the most vital bands of the 2020s, and Bdrmm are easily one of the finest, having released their debut album, Bedroom, five years ago. Since then, the band have come a long way, expanding on their dream pop and shoegaze roots to consistently create fuller and more ambitious projects. Their third album, Microtonic, feels like their most well-rounded and impressive record yet, with ambient and electronic influences adding welcome textures and freshness to their sound.
Taking inspiration from Franz Kafka’s The Metamorphosis and David Lynch’s Eraserhead, two pieces of media that are, for many, intrinsically linked, the album occupies a world that is sometimes eerie and sometimes surreal, tapping into the terrifyingly dystopian nature of our society. There is a real sense of hopelessness and fear laced within various tracks, like ‘Snares’, ‘Microtonic’, and ‘goit’ – but the album’s not all bleak.
On ‘John on the Ceiling’, for example, the band’s interest in the kinds of sounds that might inspire gig-goers to head to a club after their live sets allow Microtonic to demonstrate their penchant for experimentalism. Bdrmm aren’t the kind of band to stick to one idea and allow it to run dry; on their third album, they continue to move forward, as though their music is a tool for getting further away from – or at least processing – the pain and anguish of the pandemic days that have inspired much of their lyrical content.
The result is an album that not only further cements Bdrmm’s dominance in the Yorkshire scene but also their place in Britain’s wider alternative sphere. Equally as equipped with dance floor-appropriate beats as they are with fuzzy guitars, Microtonic reminds us that Bdrmm are ever-evolving artists with a desire to keep progressing onwards.
For fans of: Reading Kafka in the day before going to Wax Bar at night.
A concluding comment from my housemate: “I don’t know whether to dance or to contemplate my impending doom.”
Microtonic track by track:
Release Date: February 28th | Producer: Alex Greaves | Label: Rock Action Records
‘goit’: With haunting vocals from Working Men’s Club leader Syd Minsky-Sargeant, Microtonic opens with eerie ambient sounds that form a base for layers of pulsating electronics and ruminations on death. It’s a bold start to the record, absent of vocals belonging to bdrmm’s de facto singer Ryan Smith. [4/5]
‘John on the Ceiling’: The album’s second track is a sprawling electronic odyssey through shimmering synths and fast-paced drums, with deep bass anchoring everything down as Smith’s airy vocals float across the dynamic landscape. It’s one of the record’s most danceable cuts, but it’s far from your traditional floor-filler. [4.5/5]
‘Infinity Peaking’: On the more contemplative ‘Infinity Peaking’, Smith’s lyrics communicate a sense of hopelessness and confusion with lines like “And it feels like/ I’m losing my way” and “Contemplating all the time/ how much we lost.” This one highlights the band’s ability to slow things down but still maintain interest with lots of sonic elements shooting in and out to create texture. [4/5]
‘Snares’: Faster now, ambient synths form the groundwork of ‘Snares’ as a throbbing electronic beat makes for an interesting contrast. Spoken vocals also add a sense of intrigue to the track, although Smith’s voice sounds distant and hesitant, even creating an air of mystery. [4/5]
‘In the Electric Field’: Featuring vocals from Olivesque, also known as the lead vocalist of Nightbus, a cyclical bassline creates a strong canvas for dreamy reverb-heavy guitars that make for a welcome accompaniment. As the song reaches its final minute, it becomes more euphoric, scooping you up in its arms of thick, all-encompassing sound. [3.5/5]
‘Microtonic’: Sounding like a contender to soundtrack the next coolest thriller mini-series the BBC has to offer, ‘Microtonic’ is an instrumental cut that immerses you in a sense of murkiness and even a little danger. [4.5/5]
‘Clarkycat’: Named after the drug from a Brass Eye sketch, there’s something slightly sinister about the synths on ‘Clarkycat’, which is buoyed by a pounding beat. With rather vague and abstract lyrics, Bdrmm allows us to sink into a world of uncertainty here that feels suitably dystopian. [4/5]
‘Sat in the Heat’: Moving between slightly robotic and uncertain vocals with lines like “Waking from this dream that never ends/ Is that our perfect way of leaving?” and more dreamlike melodies, this track feels like being half-awake. A floating, spacey number, Bdrmm creates a cinematic soundscape here that carries the album towards its end. [4/5]
‘Lake Disappointment’: Over inescapably catchy rhythms, Smith sings, “Out there, there is/ nothing to be afraid of. At least that’s/ what they tell us.” There might be fear and anxiety within us, especially post-pandemic, but at least we can dance. [4.5/5]
‘The Noose’: A slower number brings the record to a close, with Bdrmm demonstrating their prowess by creating a fully-formed atmosphere that somehow feels both minimal and full of life. With distorted vocals and a continually building pace, the song ends with bubbling synths, rounding off the album on a slighter, lighter, more hopeful note. [4/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.