I'LL PROBABLY BE ASLEEP is the debut album from bedroom pop artist Hachiku, AKA Angela Anita Ostendorf, released a few weeks ago. But is it good?
So I probably wouldn't have found out about this album if it weren't for it being recommended on the front page of bandcamp. Bandcamp's recommendations are a bit hit and miss, however this one managed to be attention grabbing enough in the first track to warrant listening to the rest of the record.
The record opens with the title track and some ringing feedback before Ostendorf's vocals ominously float over the track, before it's joined by some crunchy drums too. The vocals are quietly understated by still impactful, and the guitar work is really really good too, something continued on the rest of the record. The vocals really open up to fulfill their potential in the track's choruses too. Really great textures on the track, solid opener.
Second track BUSY BEING BORING is immediately more low key with some sequenced drums and dreamy guitar work, and has a nice range of vocals too, with some more understated whisper-y singing and some more higher register passages too. The track is fine overall, some of the writing isn't great and it's not a stand out but definitely has some great moments- especially the last 40 seconds or so.
YOU'LL PROBABLY THINK THIS SONG IS ABOUT YOU starts with some very chilled out drums and keys, with Ostendorf's vocals riffing over the top, and alongside the vocal melodies in the verses it makes for one of the best vocal performances on the record. The track also has some more great guitar/bass work (not sure which it is), and the track rounds itself off nicely too.
BRIDGING VISA B is immediately more upbeat than the tracks before with a deceptively simple rhythm section, and some more awesome guitar work. The track has loads of cute little quirks scattered across it, the track doesn't really put a foot wrong- maybe besides ending a little early, if anything. But it's still definitely a highlight in the tracklist.
DREAMS OF GALAPOGAS is the longest track at a little over 5 minutes, and as the title suggests is exceptionally dreamy. The track is characterized by these overbearing male-sounding choral vocals, but Hachiku's vocals are top notch on this track too- as well as her lyricism. The track is interesting and engaging for it's runtime and has plenty of great and memorable moments, solid overall.
I think it's probably worth mentioning at this point that this album has quite a few moments that remind me of the Super mario galaxy soundtrack- which i suppose makes sense seeing as they're both going for spacey, dreamy atmospheres; but multiple points on the record will have this riff or motif that immediately reminds me of the game. I mean Ostendorf isn't too much older than I am so it's not impossible, but still. Weird. Anyway.
A PORTAIT OF THE ARTIST AS A YOUNG WOMAN has one of the best rhythm sections on the whole album easily, the hi hat has this great phaser effect that works really well with this sweet organ tone in the background. This track is probably the most "indie" of the songs on the record, it's sickly sweet even with the strangled guitar tones that pop in occasionally. The track is beautifully harmonious, even if the lyrics are spiteful sounding.
The record finishes up with SHARK ATTACK and MURRAY'S LULLABY. The former reminds me of MGMT's CONGRATULATIONS at some points. The lyricism on the track is incredibly intimate, almost to the point of being uncomfortable, with these lyrics about choking on someone's hair in your throat- the idea of a "shark attack" perhaps referencing the perceived unknown danger, and the then deeply instinctual reaction, summed up even in the first line "Shark attack- You'll know how to react". Another track that doesn't waste any time and is well constructed throughout.
Final track MURRAY'S LULLABY finishes the record on a fairly somber and nostalgic note, with an extremely dreamy atmosphere that builds up to sweeping soundscapes at some points of the track. The vocals feel like they're the centrepoint of the track at some of the quieter moments, which isn't something seen on alot of the album. It sums up the album really well and feels like it doesn't leave any musical loose ends to be tied up.
I think you could interpret the majority of this album as being in a sort of dream state- every track other than the first has sequenced drums which give the record a subdued and automated feel, and could perhaps signify those songs being asleep. The ideas put across in the lyrics are often grand and sweeping and disappear as soon as they appear, and the album cover looks like something out of a different decade entirely. The album also ends on these 4 low tom hits before wrapping up, which almost feels like a reminder that you're still asleep. I don't know, that's just how the album came across to me.
But it's definitely a really solid debut record- there are so many ideas and sounds to be expanded on here, I'm definitely going to keep an eye out for what Hachiku gets up to in future.
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