Crime & the City Solution "the killer"
the killer, the sixth studio album from Crime & the City Solution, and their first in over a decade will be released via mute, on October 20, 2023.
The album began life as a PhD application that came to life when the band s core members, Simon Bonney and Bronwyn Adams, found themselves stuck in their native Australia under one of the world s strictest lockdowns, their nomadic lifestyle put on pause by the pandemic. Naturally , says Simon, I sat and I pieced together a PhD application about decision making in Afghanistan in the late 80s. But as it turned out, it was actually more of a record than it was a PhD.
The PhD and, by turn, the album found inspiration from Bonney s work delivering aid programmes across the Indo-Pacific region. Through that work, he visited places with high levels of violence and the album, in part, acted as a way in which to process the effect that turmoil has had on his psyche, of the dead bodies in my dreams, that he sings about in the title track. He explains, There s no mention of American decision making in Afghanistan on the album, but in terms of subject matter there s a lot that s pretty similar; a lot of the record is about loss of faith.
Sparky Division "Foxy"
Black To Comm "At Zeenath Parallel Heavens"
At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, language, and beyond. Richter mirrors personal dualities by employing a combination of sounds he created and manipulated samples, blurring their boundaries. This time these sources were pushed to the extremes as he explored contrasts of these combined sonic pallets. “It was created by a combination of sampling and doing my own recordings and then a lot of studio work, editing and collage, which is the main process. I always try to blur the line between sampling and my own recordings, also between ‘real’ instruments, MIDI, electronics, editing, between authenticity and theatrics/artificiality.” As Richter worked on the album, he became aware of how AI text programs processing resembles his own methods. “I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays – especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results).” Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek. Song titles drawn from epic poetry and ancient mythology explore a duality between the serious and ridiculous, mimicking the multi-layered meanings of the music itself; “I love the pathos, the flowery baroque language, the ambiguity (especially with regards to erotic innuendo),” Richter elaborates.
At Zeenath Parallel Heavens pushes Richter’s audio occultism into even more divine, transcendent territory. Across the album’s dazzling expanse, Richter assembles an arresting sonic narrative that blossoms from primeval creation myths to ominous, shadowy expanses and radiant heavenly vistas, exploring the existence of alternative realities. It is as astounding in the scope of its vision as it is immediately enthralling, as inviting as it is subtly unnerving.
Despite having a concept in mind, Neighbourly didn’t want to limit themselves when it came to the process of recording the songs. Some songs evolved collaboratively within the group, while others were written naturally by individual members.
The band engineered the album themselves, and each song was produced by its respective writer. This project serves as a centrepiece showcasing the band’s growth over the past year. Mixing and mastering credits go to Latham Reader, who continues to support other artists in the Vancouver Island scene.
Neighbourly, the album, transcends through psych-funk grooves, calypso beach vibes, and dreamy shoegaze, offering the epitome of what the group has to offer.