tētēma, the bi-continental outfit featuring Mike Patton (Faith No More, Mr. Bungle) and the Melbourne based, electro-acoustic artist Anthony Pateras, have announced their sophomore album, ‘Necroscape’ (out April 3 via Ipecac Recordings).
To coincide with the announcement of the Spring release, they have given us a taster with Haunted On The Uptake, a track Pateras describes as sounding “like The Melvins’ tour van broke down in the Balkans and instead of going home, they decide to open a mountain laboratory dedicated to possible hybrids of Rembetika and hardcore”. You can listen to the track via YouTube below.
Pre-orders and other ways to hear the track can be found here: https://smarturl.it/necroscape.
‘Necroscape’ is sculpted around isolation in the surveillance age; and although lofty/high-concept sounding, it is still an intensely fun and heavy listen. The LP synthesizes a lot of territory: odd-time rock, musique concrète, otherworld grooves, soul, industrial noise, microtonal psychoacoustics… seemingly strange bedfellows on paper, yet they seamlessly coalesce into 13 songs which playfully challenge our notions of sonic logic and make you move at the same time. In a nutshell, listening to ‘Necroscape’ creates the weird sensation of exclaiming “of course!” and “wtf?” simultaneously.
‘Necroscape’ track list
- Cutlass Eye
- Wait Till Mornin’
- Haunted on the Uptake
- All Signs Uncensored
- Milked Out Million
- Flatliner’s Owl
- Dead Still
- We’ll Talk Inside A Dream
- Sun Undone
- Funerale Di Un Contadino
Pateras and Patton “created an intelligent but ferocious mixture of avant-garde experimentalism, world music accents, and heavy metal velocity” (All Music) within the confines of their 11-track, 2014 debut, ’Geocidal’. NME described the collection as “Roni Size getting spiked with GHB and fed through a woodchipper” while Alternative Press said, “once you are acclimated, it will leave you tingling.”
The pair, joined by Will Guthrie (percussion) and Erkka Veltheim (violin), both of whom appear on ‘Necroscape’ as well, made their live debut, fittingly at the Tasmania Mona music and art festival. The Guardian said of the outing: “tētēma didn’t enrapture with anthems or token festival rock gestures, they enraptured with mood, with surprises, and with evocations rarely felt by audiences…”