Four tracks long, but easily replayable, Laurie Came Home is the sign of exciting things to come from the Melbourne producer Eastward. A former member of Husky who’s worked with the likes of Josh Abrahams, Opiou and Spoonbill, Eastward’s collected a huge list of influences and has delivered a glorious mix of eclectic sounds on his debut EP.
It’s the mark of a great musician to chuck together so many styles and create a coherent, distinct sound. The tracks are mostly instrumental groove-conductors, a mash of analogue funk and rock with electronic beats and synths. It’s all very busy, but never chaotic.
Opening track Old Green Thumb sets it up nicely, with the dichotomy of an eerie tape-warped piano next to a sexy Barry White-esque bass and guitar riff combo. The result is a silky dreamscape; surreal, but impossible to resist. Golden Morning follows, featuring vocals from Tinpan Orange’s Emily Lubitz. It’s the closest Eastward comes to a contemporary indie pop track, driven more by the soft strums of an acoustic guitar and plonks of a piano than experimentation. Lubitz’s sweet-toned reassurance of, “no need to hide,” perfectly complements the wavy arrangement. Though, the track’s only pretty good on an EP that is otherwise very good.
The title track delivers strutting bass, horns and a scattering of ’80s-era drum machine presets to create a respectful ode to the smooth jazz of yesteryear. The crown jewel of the piece, however, is an extended mix of previously released track Eye Twitch. Wiry guitar riffs form a plodding reggae-flavoured jam that eventually transitions into the sort of mercilessly catchy electro-rock bounce that would make Ratatat wipe away an impressed tear.
BY JACOB COLLIVER
