The musical aura surrounding the collective being that is The Octopus Project reads less like a typical indie/electronic band and more like a trippy, futuristic version of The Partridge family. No, really. Anyone who has had the privilege of seeing The Octopus Project perform live can attest to the sort of close-knit, familial energy they exude on stage. Though each member is chiefly responsible for operating specific instruments, they all have the ability to play pretty much whatever happens to be on stage. They’ve been known to switch things up during their live sets and what’s most fascinating about those moments is how fluidly the music follows along. Nothing is compromised in those moments. Every note adapts itself to fit its new creator and over time, select songs will shape shift into something totally new and not necessarily intended.
And, for the last decade, the quirky but huggable quartet has been utilizing both traditional and technical instrumentation to craft beautiful layers of schizophrenic melody. Their most recent release, an EP titled Golden Beds includes some of those organically crafted tunes. “Rorol” has existed in recorded form since the band’s debut album, but over time and through its journey on stage “Rorol” has arrived unapologetically as haunting, discordant reverb. It’s an absolutely lovely mix of whining Theremin, subtle guitar strums and thump-thumping drum strokes. The other four songs on Golden Beds boop and beep alongside manically intense drum beats, discordant chords and ethereal plunks. Both “Wet Gold” and “Moon Boil” purr with vocal accompaniment not often seen in Octopus Project’s mostly instrumental repertoire.
The Golden Beds EP is a thoughtfully packaged compilation of luscious harmonies that unfold to reveal the underbelly of some of The Octopus Project’s most gorgeous sounds to date.
-- Brigitte B. Zabak [November 2, 2009]
