Silvermouse’s new LP Earthadelik

Slowly but surely, an eruption of synthetic melodies takes shape before us in “New Moon,” the opening track of Silvermouse’s new LP Earthadelik, and as we get lost in its seven minutes-plus of sonic storming, there’s scarcely a moment where its pulsating beat isn’t pushing us to the edge of our seats. Every song feels like a giant beast in Earthadelik, whether it be this first cut or its even meatier neighbor “Existence Experience,” and as we make our way through the first half of the album it feels more like we’re taking in a cinematic affair than we are merely consuming a new electronic offering. “Down” rises from the ashes of “Existence Experience” ready to drag us asunder with a gargantuan groove, and while it’s no more captivating than its counterparts in the tracklist are, its epic style sets the pace for most everything else that follows.

In my initial sit-down with Earthadelik, “Little Ratty” was the song that caught my attention the most. Built around a mesmerizing sway that is riddled with kaleidoscopic melodies, “Little Ratty” evolves over the course of nearly seven and a half minutes, but once it finds its sizzling center roughly two minutes into the track, it’s hard to resist the urge to synchronize our hips to its beat. “Dream Valley” is much more involved and haunting because of its noisy core and Kraftwerk-inspired angularities, but even at its most abrasive, this song never devolves into mindless dribble, nor some halfhearted attempt at the oversized avant-gardism of yesteryear.


“Freaks and Lovers” picks up right where “Dream Valley” left off by applying a really harsh groove to a supple, silky harmony, and the although it feels like an unwinnable sonic war at the start, its battlefield of beats ends up providing us with one of Earthadelik’s greatest moments. “Hot Button Wild Boom” is the most multilayered of any composition here, and other than its borrowing a little from late-2000s/early-2010s noise ala The Narcotic StoryRosemary Songs EP and Shelter Songs-era Howard James Kenny, it has a very unique aesthetical backbone that makes it almost exotic in nature. It’s a similar story with “Beef in D Minor,” but I wouldn’t say that any two tracks here utilize the same construction – after all, if there’s one thing that’s true about Silvermouse, it’s that they’re far too highbrow a group to go down the same compositional road more than once.

In an assaultive bolt of electricity, “Venus Feels Like That” attacks us with every stitch of ferocious noise this group can produce only to clear a path for the moderate space explorer “Spores in My Dermis” some eight minutes later. “Spores in My Dermis” brings Earthadelik to a chilling conclusion that is even superior to the way in which it gets us rolling in “New Moon,” and although it’s an intimidating listen with ten suite-like songs, Silvermouse’s latest LP is one that I would tell audiences to give themselves over to when examining its tracklist. This record requires a lot of focus to completely understand, but for those of us who live for supremely complex music set to a danceable groove, it doesn’t get much better than an album like Earthadelik.

Anne Hollister

Written by Anne Hollister

We do music reviews for Independent Artists and Publicists.



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