One of last year’s real breakouts, a.s.o.’s debut album of dreamy mid ‘90s trip-pop straddles the finest line between ‘The Beach’ OST-era All Saints, classic Fleetwood Mac and chilled 90’s charmers somewhere on the line between Sneaker Pimps, Hydroplane, Dubstar and into Hysterical Love Project, ML Buch and Lana.
Berlin-based a.s.o are the duo of Naarm’s Lewis Day (aka Tornado Wallace) and Alia Seror-O’Neill, and their self-titled debut album arrives after a tentative start in late ’22 with ‘Go On’, which opens this full length with a clear indication of their mood and influences. Alia’s opiated vocals are dry iced over a slurred and plastic amen, setting up a faithfully downbeat sequence that sashays in the long shadow of ‘80s-into-‘90s styles that prevail over contemporary fascinations.
They strike a fine seam of urbane ennui in ‘My Baby’s Got it out for Me’, knitting in wavy trills on ‘Rain Down’ and effortlessly glyding like Fleetwood Mac in collab with Bullion & Laura Groves’ pop-not-slop on ‘Love In The Darkness’. There are clear echoes of Portishead’s uneasy listening on ‘True’, and the sort of stuff that recalls Aussie teen drama soundtracks via ‘The Beach’ score on ‘Falling Under’, with vintage touches of St. Etienne suss in ‘Thinking’ and a flyaway flourish ‘Somebody’ that wraps it up with a sugar-lipped kiss-off.
Strong, memorable stuff, anyone snagged by ML Buch / Astrid Sonne fever will wanna give it many a whirl.
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One of last year’s real breakouts, a.s.o.’s debut album of dreamy mid ‘90s trip-pop straddles the finest line between ‘The Beach’ OST-era All Saints, classic Fleetwood Mac and chilled 90’s charmers somewhere on the line between Sneaker Pimps, Hydroplane, Dubstar and into Hysterical Love Project, ML Buch and Lana.
Berlin-based a.s.o are the duo of Naarm’s Lewis Day (aka Tornado Wallace) and Alia Seror-O’Neill, and their self-titled debut album arrives after a tentative start in late ’22 with ‘Go On’, which opens this full length with a clear indication of their mood and influences. Alia’s opiated vocals are dry iced over a slurred and plastic amen, setting up a faithfully downbeat sequence that sashays in the long shadow of ‘80s-into-‘90s styles that prevail over contemporary fascinations.
They strike a fine seam of urbane ennui in ‘My Baby’s Got it out for Me’, knitting in wavy trills on ‘Rain Down’ and effortlessly glyding like Fleetwood Mac in collab with Bullion & Laura Groves’ pop-not-slop on ‘Love In The Darkness’. There are clear echoes of Portishead’s uneasy listening on ‘True’, and the sort of stuff that recalls Aussie teen drama soundtracks via ‘The Beach’ score on ‘Falling Under’, with vintage touches of St. Etienne suss in ‘Thinking’ and a flyaway flourish ‘Somebody’ that wraps it up with a sugar-lipped kiss-off.
Strong, memorable stuff, anyone snagged by ML Buch / Astrid Sonne fever will wanna give it many a whirl.
One of last year’s real breakouts, a.s.o.’s debut album of dreamy mid ‘90s trip-pop straddles the finest line between ‘The Beach’ OST-era All Saints, classic Fleetwood Mac and chilled 90’s charmers somewhere on the line between Sneaker Pimps, Hydroplane, Dubstar and into Hysterical Love Project, ML Buch and Lana.
Berlin-based a.s.o are the duo of Naarm’s Lewis Day (aka Tornado Wallace) and Alia Seror-O’Neill, and their self-titled debut album arrives after a tentative start in late ’22 with ‘Go On’, which opens this full length with a clear indication of their mood and influences. Alia’s opiated vocals are dry iced over a slurred and plastic amen, setting up a faithfully downbeat sequence that sashays in the long shadow of ‘80s-into-‘90s styles that prevail over contemporary fascinations.
They strike a fine seam of urbane ennui in ‘My Baby’s Got it out for Me’, knitting in wavy trills on ‘Rain Down’ and effortlessly glyding like Fleetwood Mac in collab with Bullion & Laura Groves’ pop-not-slop on ‘Love In The Darkness’. There are clear echoes of Portishead’s uneasy listening on ‘True’, and the sort of stuff that recalls Aussie teen drama soundtracks via ‘The Beach’ score on ‘Falling Under’, with vintage touches of St. Etienne suss in ‘Thinking’ and a flyaway flourish ‘Somebody’ that wraps it up with a sugar-lipped kiss-off.
Strong, memorable stuff, anyone snagged by ML Buch / Astrid Sonne fever will wanna give it many a whirl.
One of last year’s real breakouts, a.s.o.’s debut album of dreamy mid ‘90s trip-pop straddles the finest line between ‘The Beach’ OST-era All Saints, classic Fleetwood Mac and chilled 90’s charmers somewhere on the line between Sneaker Pimps, Hydroplane, Dubstar and into Hysterical Love Project, ML Buch and Lana.
Berlin-based a.s.o are the duo of Naarm’s Lewis Day (aka Tornado Wallace) and Alia Seror-O’Neill, and their self-titled debut album arrives after a tentative start in late ’22 with ‘Go On’, which opens this full length with a clear indication of their mood and influences. Alia’s opiated vocals are dry iced over a slurred and plastic amen, setting up a faithfully downbeat sequence that sashays in the long shadow of ‘80s-into-‘90s styles that prevail over contemporary fascinations.
They strike a fine seam of urbane ennui in ‘My Baby’s Got it out for Me’, knitting in wavy trills on ‘Rain Down’ and effortlessly glyding like Fleetwood Mac in collab with Bullion & Laura Groves’ pop-not-slop on ‘Love In The Darkness’. There are clear echoes of Portishead’s uneasy listening on ‘True’, and the sort of stuff that recalls Aussie teen drama soundtracks via ‘The Beach’ score on ‘Falling Under’, with vintage touches of St. Etienne suss in ‘Thinking’ and a flyaway flourish ‘Somebody’ that wraps it up with a sugar-lipped kiss-off.
Strong, memorable stuff, anyone snagged by ML Buch / Astrid Sonne fever will wanna give it many a whirl.
*Last Copies* 2024 Re-press - Includes printed inner with lyrics
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One of last year’s real breakouts, a.s.o.’s debut album of dreamy mid ‘90s trip-pop straddles the finest line between ‘The Beach’ OST-era All Saints, classic Fleetwood Mac and chilled 90’s charmers somewhere on the line between Sneaker Pimps, Hydroplane, Dubstar and into Hysterical Love Project, ML Buch and Lana.
Berlin-based a.s.o are the duo of Naarm’s Lewis Day (aka Tornado Wallace) and Alia Seror-O’Neill, and their self-titled debut album arrives after a tentative start in late ’22 with ‘Go On’, which opens this full length with a clear indication of their mood and influences. Alia’s opiated vocals are dry iced over a slurred and plastic amen, setting up a faithfully downbeat sequence that sashays in the long shadow of ‘80s-into-‘90s styles that prevail over contemporary fascinations.
They strike a fine seam of urbane ennui in ‘My Baby’s Got it out for Me’, knitting in wavy trills on ‘Rain Down’ and effortlessly glyding like Fleetwood Mac in collab with Bullion & Laura Groves’ pop-not-slop on ‘Love In The Darkness’. There are clear echoes of Portishead’s uneasy listening on ‘True’, and the sort of stuff that recalls Aussie teen drama soundtracks via ‘The Beach’ score on ‘Falling Under’, with vintage touches of St. Etienne suss in ‘Thinking’ and a flyaway flourish ‘Somebody’ that wraps it up with a sugar-lipped kiss-off.
Strong, memorable stuff, anyone snagged by ML Buch / Astrid Sonne fever will wanna give it many a whirl.