Album Review: Audego - Abominable Galaxy

30 April 2012 | 4:53 pm | Tom Birts

Big Fella’s vocal works best when it’s rudely challenged by the moodier elements in Paso Bionic’s beat locker.

Don't get me wrong; I like Audego's Abominable Galaxy, I do. It's just…frustrating. From the word 'go' (actually, the first word is 'ooooooooohhhh') there is poise and intent. Paso Bionic's dark beats are a quality foil for the paper thin vocal fragility of Big Fella, and for the most part, the album hovers in the upper echelons of what we might term the 'Bristol' sound (See: Portishead, Tricky, Massive Attack). In fact, at times it is so similar to the ethereal breathe-hop of Geoff Barrow and Beth Gibbons' early work that you wonder whether someone's bet them they can't trick Shazam.

Big Fella's vocal works best when it's rudely challenged by the moodier elements in Paso Bionic's beat locker. Behind The Citadel Walls and Rhapsody For The Wicked showcase this beautifully, and this is where Audego can be frustrating. For every moment of brilliance, there is an equal and opposite piece of arse-hattery. The vocal harmonies on Big Fella's spellbinding lament on her inadequacies are almost drowned out by the incongruity of the title – Polish A Turd. And after sharing 35 magical minutes with Audego, instead of the lingering kiss we want and expect as a goodbye, the album's final track is squandered on a recording of the finish cycle alarm from my Samsung washing machine (for realsies).

Follies aside, Abominable Galaxy is a strong showing from the married Melburnians, and more than enough to pique my interest for a second showing. If you were charmed by Dutch's A Bright Cold Day (and if you weren't, clean out your ears), this will sit comfortably in your record collection.