De Blimp – Shamblerone
De Blimp need no introduction on Deko.fm. The band released Shamblerone on April 24th, 2022, and it was undeniably their best album to date. Both creative and masterfully crafted, Shamblerone is a treat.
Straight off the bat, one will notice the absurd number of instruments present on the album. Equally impressive is the precision to which the instrumentals are performed. Gone is the more vertical songwriting experienced on Imaginary People (2021). While I do miss the textural work on said album, it’s apparent De Blimp’s work has greatly benefited from sharper songwriting. The album opens with a maniacal symphony of violins and paranoid singing. It perfectly sets the mood for the album ahead; chaotic, delirious, and merciless. The same violin gives impeccable atmosphere to songs such as Cabin Door and in assorted other moments through Shamblerone.
The best songs are those that cram an absurd amount of progression and experimentation within their short length. Schizophreniac is the pinnacle of this notion, encapsulating the listener in its bizarre soundscape of bongos, xylophones, keys, and electric guitars. Disbelief and Shamblerone are other solid examples, with their masterfully progressive frantic soundscapes, and disjointed-yet-melodic frameworks. At times the album is ferocious, other times it takes a subdue approach to its lunacy, such as during Imagitory Room. Together, the band’s range is masterful; it’s apparent De Blimp could effortlessly tackle any genre. To top it off, the production is clean and complimentary to the more no-wave approach.
The two vocalists perfectly accompany one another. The vocalist on tracks Overhead and Disbelievers channels David Thomas faultlessly. The peak of his brilliance can be observed in the Howlin' Wolf-esque roars of Ignorance and the similarly impressive Disbelievers. The second vocalist, observed on Subalpine Stretch and Fortune, delivers just as impressively at a higher register. His peak performance can be heard throughout Where It Started To Go, in which his schizophrenic registers are paired wildly with a panicky wail of guitars. As one would expect, when the two vocalists’ duet together, such on Iodide and Mangolo, it’s bliss. Moreover, the lyrics are exceptional – marvellously descriptive and fitting of the maniacal soundscapes.
There’s a bit of fluff; expected in such a long track-listing. Mangolo’s utilisation of its harmonica is spectacular, though the verses are underwhelming; the track could have fleshed its instrumental outro more. Silver Screws is a sharp, alluring instrumental, though the following track Roomism mulls around in its paganistic soundscape for an unnecessary length. These tracks could have been combined. Lastly, the more choir-like sections, such as during the verse of Diamon Mind, are stale compared to other vocal performances. Regardless of its low points, they’re far in between and negatable. Moreover, they don’t affect the overall score of the album – there’s simply more room for improvement and textural work. I would have personally like to have seen some of compositions expanded upon and the soundscapes fleshed out à la Imaginary People; here’s hoping future De blimp releases combine the best elements of both albums.
Shamblerone is the pinnacle of De Blimp’s discography. Many of the progressions are very intelligent for such short tracks, and the vocal layering is impeccable. Seeing how far the band has progressed has warmed my heart, and I can’t fucking wait to see what they do next.
Awesome
Listen to it here:
De Blimp – Shamblerone
