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Album Review: Baby Monster

Baby Monster released their self-written-mixed-recorded-titled album by themselves on June 27th. Hailing from America’s west coast (Oregon, to be precise) and previously branded as “indie-electro pop stars”, they undoubtedly live up to this name. Drawing on 80s acts like New Order and more modern electro-pop groups like Owl City and MGMT, this album is full of uncanny structured beats brought together to make an exquisite sound.

If you are a bit afraid of the idea of “electro” (and I’ll openly admit that I was), don’t be. Their opening track, and in fact the whole album, is calm and filled to the brim with tranquil melodies and echo-drenched vocals that create a dream-like air. Now and again, for example with It’s All Come Back To Me and Kalookan Queen, there are subtle hints of harder techno and dance elements which never become too aggressive and drown the melody. The debut single, Ultra Violence and Beethoven, perfectly encapsulates everything else on the album; the rest of the album broadens on the components of UVAB creating a very multi-dimensional selection of songs.

I feel this is quite an elusive album, which probably owes to the underlying fantasy-feel to each of the songs. There were moments, however, that I did get a little lost amongst all this romanticism and was unsure if I was listening to the same song or had moved on to another one.

Having said this, it’s clear to see why Baby Monster are one of the most exciting band’s to recently emerge from America, creating an eclectic cocktail of electric synths, indie-pop and distorted vocals which is gloriously exciting. They are definitely electronica stars in the making.

-Charlie Clarkson

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