Microbunny

Microbunny

BY Michael BarclayPublished Apr 1, 2002

Former King Cobb Steelie guitarist Al Okada, the textural wizard featured on their first three albums, unleashes his musical id in his first solo project. It’s a dubterranean landscape of smoky jazz, Red Snapper’s down-tempo cinematica, Laika’s sounds for stargazing, and post-punk goth. More than anything, though, it resembles a lush and creepy Badalamenti score for a sci-fi film, with upright bass, twangy guitar, vibes and twilight textures. Okada is a funkier drummer though, and he’s responsible for all the music, editing and sampling only self-created and non-quantised sounds. Tamara Williamson floats above Okada’s cloudy compositions with her patented — though no less effective — reverbed ethereal vocals, providing a semblance of pop structure to give casual listeners an entry point. Otherwise, it’s a haunting, occasionally harrowing and very headphone-friendly trip.

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