Despite the many reports of it’s death, the fact is that guitar music will never really go away for any prolonged period of time. Go to any venue any night of the week and the chances are you’ll come across a group of early 20’s wannabes aimlessly strumming at guitars, a lead singer with a grimace stuck to his face and a swagger ill fitting of a man who otherwise works in a supermarket – the only difference now is that they don’t have the immediate carrot of chart success and the bags of money that follow in front of them. There’s rarely any justice in music, but this can be one of the rare times when the industry has proven that it does have some sense of moral compass or sense of right.
On the most basic level, even the most exciting of guitar bands can’t really match what electronic music is succeeding in doing at the moment – constantly breaking new boundaries, finding new ground to move into and conquer. Lazy Dre definitely fall into this mindset of imperialistic discovery, joyfully testing new waters in the ways that simply wouldn’t associated with a traditional ‘indie’ band. The most obvious label for what the duo are making would be post-dubstep, a catch all term that is pinned upon anyone making anything even vaguely outside of conventions at the moment. They hail from Sydney, which seems to be harnessing a scene all of it’s own at the moment, walking the same streets that the similarly innovative Sleep In calls home.
Their debut album, Octogasm, is available for download at the minute through bandcamp, with a release coming up on hot label Orchard Tapes, and the real beauty of it’s 16 tracks is how easy it is to listen to, whilst at the same time being so relentlessly forward thinking. The ideas that over arch are different and bizarre – samples mixed amongst waves of noise that radiate warmth – but it’s still a remarkable mellow and enthralling listen. The next resurgence of boring, generic, 4 piece lads on tour bands making stacks of money from their fabricated working class roots are probably only a few years away, so it’s probably best to embrace this current feast of wonderful, untested electro before the guitar famine kicks in once again.