In a country that focuses largely on the Alison Wonderlands, Flumes and Golden Features-es, it’s understandable that many don’t hear about the fantastic talent that lies below the surface, away from the usual winning formula of pop-bangers and airtime. With mainstream radio becoming less of a contributor within music popularity, it’s good to see musicians doing experimental work being rewarded with the praise they deserve. It’s been a little over a year and a half since Dro Carey, aka Eugene Ward, also aka Tuff Sherm, released Club Injury Handbook, a crazy experimental release that had everyone talking about its phenomenal mix of grime, UK garage and house. With his latest EP Dark Zoo, Dro has cemented himself as one of the country’s most intelligent and interesting producers of electronic music.
Though it only sits just above 21 minutes, Dark Zoo’s five tracks move through a variety of genres and sub-genres that make the experience feel a lot more drawn out and intricate. Usually working without lyrics, Dro makes the leap to more dark-pop territory with on the EP’s opener – Queensberry Rules. Perth local Kučka’s ethereal and wispy vocals sound right at home over a thick, ever-changing synth lead, and shifting percussion, filled with scratches and cymbals that are changing constantly. While in many collaborations between vocalists and producers there is an obvious bias to one of their styles, Dro and Kučka have created a track that sounds like an equal effort on both their behalves. It could fit on the dancefloor of a club at 3am, or at 9pm in a mosh at a Kučka show – it’s a testament to their talents.
Then we’re thrown into Signal Mash, which I can only describe as Crash Bandicoot meets jazzy dancehall, and it works crazy well. There’s so much going on here that mid listen I’ve had to stop and rewind a section just to make sure that I’m catching everything properly. The EP’s namesake, Dark Zoo, is all about the future-bass sounding synths thrown into a faced pace house track, with vocals by FKL making it the most light hearted and airy on the release. Grow Lithe and Hidden Halls are both packed to the brim with some crazy percussion, excellent use of pan-flute (never thought I would see myself say that), and lead lines that’ll get stuck in your head for days. It feels like they lead into each other perfectly, like a yin and yang situation for the floor. The thing that sticks out most when you listen to Dark Zoo though, is its versatility. While I found myself moving and shaking all over the place, looking forward to seeing these tracks hit the club scene ASAP, I also re-listened to them over and over, to better understand how they were composed. It’s not often that you find yourself both dancing to and studying a release as constantly as this, and it’s the embodiment of all the skills that Dro Carey has developed over his many years of being active.
The term IDM, or Intelligent Dance Music seems to be thrown around all too much, but that’s exactly what Dark Zoo is. Dro has demonstrated his mastery of a number of genres of dance music, and manipulation of sounds to create something that is both impossible not to move to, and impossible not to want to understand. I have no doubt there’ll be many a punter who stops mid-dance as Grow Lithe comes on the speakers, just to marvel at how it’s arranged, before jumping right back into it. Kudos Dro Carey, what will you think of next? I can’t wait.
Image: Factmag