Tropical Fuck Storm - Braindrops (Album Review)

 

Tropical Fuck Storm - Braindrops

(2019)

My copy: 2019 press on neon magenta vinyl by Joyful Noise Recordings.

Braindrops would be Gareth Liddiard’s second full length with new project Tropical Fuck Storm following his last release with The Drones in 2016. Preceded by the band’s debut only one year prior, Braindrops simultaneously tightens up the compositions while unleashing newfound destructive waves of noise across nine maze-like tracks. 

The guitar is hazy and smoky, with vibrato adding uncertainty to each careful strum. “Paradise” stumbles about like a drunk trying not to make too much noise in the dark, with brushes contributing to the quiet rise and fall of the percussion. The bombast on this track mostly comes from the vocals: here Liddiard’s voice is backed by his wife Fiona Kitschin as well as guitarist Erica Dunn at times. The backing vocals often appear seemingly at random, sometimes fully filling out harmonies or simply doubling specific lines. “The Planet Of The Straw Man” begins with bumpy bass that is purposely kept from finding a steady groove as muted, pointed guitar lines are sprinkled conservatively over-top. One guitar is melodic yet percussive while another wheezes with distortion, all under Liddiard’s imaginative, no-bullshit lyrics. The most apparent downfall is that the drums are mostly too quiet, with the biggest asset of the record being the high guitars and vocal performances. 

“Who’s My Eugene” sees Kitschin taking over on possibly the catchiest groove of the record. There is a shaken funk attitude, though off-kilter and stilted with prickly guitars that border on atonal. It’s clear the band are fans of afro-pop where melodies are played with very warm, percussive and rigid tones. There are also lots of fun synthesized sounds, though at times the chaos is a bit overplayed. They delve further into the afro-pop influence on “Happiest Guy Around” which sees extremely manic, sarcastically happy choruses with rapid fire vocalizing and marching drums. There are visceral solos and heavy slamming before the chorus loops again and fades away into the echoed reverse-reverb of “Maria 62.” This track is soothing at first, but dissonance looms under the melodic elements, eventually converting the song fully into a sea of swelling effects.

The title track features EQ affected and distorted drums with guitar lines that sound so wobbly that it feels as though they could fall apart at any moment. “Aspirin” is a darkly beautiful poem with bending, unstable guitar pops that elegantly mimic the vocal melodies at all the right times. Some of Liddiard’s most touching words are committed to this track: a sincere ache resonates through the lyrics like an uncomfortable stare from an ex-lover. The fanciest arrangement graces the instrumental “Desert Sands Of Venus” with strings, organs, etc. using eastern scales to amass a mysterious atmosphere. “Maria 63” is the grand finale with delicate instrumentals that end up feeling more underwhelming than anything. The lyrics are the true draw, though it is impressive how the band manages to insert unease into even the gentlest of songs via the guitars. 

Though there are odd choices in production and some songwriting moments that fall flat, this is an impressive release from a no-nonsense artist with a solid back catalog. They utilize a signature sound here with the muted, vibrato-soaked guitar that evokes an ever-present sense of discomfort. The lyrics are such a highlight that it’s worth reading along as you go. Maybe not a modern classic, but Braindrops is worth becoming immersed in.