The Butterfly Drinks the Tears of the Tortoise
CS + Kreme
The Butterfly Drinks the Tears of the Tortoise
Boomkat Product Review:
Firm faves of the Naarm new skool, CS + Kreme, catch a fresh breeze of lysergic psych-folk and wistful eleectronics on a gorgeous 3rd album - the best format to fully indulge the duo’s mind-drift wanderlust. A must check RIYL Coil, Cyclobe, László Hortobágyi, Kakuhan, HTRK/Jonnine Standish, Pelican Daughters.
Since their self-titled 2017 debut for Total Stasis (which seriously needs a reissue!), CS + Kreme have been the most reliable soundtrackers of downtimes with a style that has shape-shifted where the wind carries them; from downbeat electro-pop, thru the lockdown succour of ‘’Snoopy’, to the more rugged zest and zeal of ‘Orange’ in ’22. As the title of their new LP implies, ‘The Butterfly Drinks the Tears of the Tortoise’ depicts the duo of Conrad Standish & Sam Karmel at their most poetically possessed, slanted and enchanted. The sound system-biased weight of their previous LP is here vaporised into thizzing, bittersweet tones and slinky shadowplay, diffused dubwise in loosely grooving, head-unzipping forms.
The staple Naarm/Melbourne pair’s ability to collapse myriad influences into original forms is never felt more apparent than here, across eight tracks tethering strands of wide-eyed early industrial musicks to prevailing Pacific rim inspirations and an inner voice dialogue as elusive but palpable as DMT geometries and angels, as revealed to scalp tingling degrees in closer ‘Cotu’, benefiting from Teguh Permana’s traditional Javanese tarawangsa strings. In the strongest, potent sense, the whole album plays out like a trip leading up to that closer, and makes us feel as though we micro-dosed with brekkie this morning.
With entheogenic subtlety and spiritual tingles, the LP ebbs and flows with a preternatural effervescence from sublime flamenco bouquet ‘Corey’, replete with siren call coos, thru the gently shearing, xenharmonic fractals of ‘Fly Care’, to a standout of thrummed cello, performed by Yuki Nakegawa of KAKUHAN, knit with almost 3-step style South African rhythms and smeared brass on ‘Master of Disguise’. Fleeting moments of chamber classical poignance (‘A Single Grain of Sand’), and a centrepiece bliss-out of ELpH-ish potency (‘Blue Joe’) are primed to make listeners blip out, wondering what just happened, before the session enters its declension phase; rolling out the voice in your head subvocalisation and gnawing noise pulse of ‘Uki’, and the trilling, hyperbolic geometries and monks-on-acid choral chant of ‘Dome Mosaic’ upon one’s 3rd eye.
Take yourself away in the country with this one for optimal effect and psychic good health.
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Boomkat Product Review:
Firm faves of the Naarm new skool, CS + Kreme, catch a fresh breeze of lysergic psych-folk and wistful eleectronics on a gorgeous 3rd album - the best format to fully indulge the duo’s mind-drift wanderlust. A must check RIYL Coil, Cyclobe, László Hortobágyi, Kakuhan, HTRK/Jonnine Standish, Pelican Daughters.
Since their self-titled 2017 debut for Total Stasis (which seriously needs a reissue!), CS + Kreme have been the most reliable soundtrackers of downtimes with a style that has shape-shifted where the wind carries them; from downbeat electro-pop, thru the lockdown succour of ‘’Snoopy’, to the more rugged zest and zeal of ‘Orange’ in ’22. As the title of their new LP implies, ‘The Butterfly Drinks the Tears of the Tortoise’ depicts the duo of Conrad Standish & Sam Karmel at their most poetically possessed, slanted and enchanted. The sound system-biased weight of their previous LP is here vaporised into thizzing, bittersweet tones and slinky shadowplay, diffused dubwise in loosely grooving, head-unzipping forms.
The staple Naarm/Melbourne pair’s ability to collapse myriad influences into original forms is never felt more apparent than here, across eight tracks tethering strands of wide-eyed early industrial musicks to prevailing Pacific rim inspirations and an inner voice dialogue as elusive but palpable as DMT geometries and angels, as revealed to scalp tingling degrees in closer ‘Cotu’, benefiting from Teguh Permana’s traditional Javanese tarawangsa strings. In the strongest, potent sense, the whole album plays out like a trip leading up to that closer, and makes us feel as though we micro-dosed with brekkie this morning.
With entheogenic subtlety and spiritual tingles, the LP ebbs and flows with a preternatural effervescence from sublime flamenco bouquet ‘Corey’, replete with siren call coos, thru the gently shearing, xenharmonic fractals of ‘Fly Care’, to a standout of thrummed cello, performed by Yuki Nakegawa of KAKUHAN, knit with almost 3-step style South African rhythms and smeared brass on ‘Master of Disguise’. Fleeting moments of chamber classical poignance (‘A Single Grain of Sand’), and a centrepiece bliss-out of ELpH-ish potency (‘Blue Joe’) are primed to make listeners blip out, wondering what just happened, before the session enters its declension phase; rolling out the voice in your head subvocalisation and gnawing noise pulse of ‘Uki’, and the trilling, hyperbolic geometries and monks-on-acid choral chant of ‘Dome Mosaic’ upon one’s 3rd eye.
Take yourself away in the country with this one for optimal effect and psychic good health.
Boomkat Product Review:
Firm faves of the Naarm new skool, CS + Kreme, catch a fresh breeze of lysergic psych-folk and wistful eleectronics on a gorgeous 3rd album - the best format to fully indulge the duo’s mind-drift wanderlust. A must check RIYL Coil, Cyclobe, László Hortobágyi, Kakuhan, HTRK/Jonnine Standish, Pelican Daughters.
Since their self-titled 2017 debut for Total Stasis (which seriously needs a reissue!), CS + Kreme have been the most reliable soundtrackers of downtimes with a style that has shape-shifted where the wind carries them; from downbeat electro-pop, thru the lockdown succour of ‘’Snoopy’, to the more rugged zest and zeal of ‘Orange’ in ’22. As the title of their new LP implies, ‘The Butterfly Drinks the Tears of the Tortoise’ depicts the duo of Conrad Standish & Sam Karmel at their most poetically possessed, slanted and enchanted. The sound system-biased weight of their previous LP is here vaporised into thizzing, bittersweet tones and slinky shadowplay, diffused dubwise in loosely grooving, head-unzipping forms.
The staple Naarm/Melbourne pair’s ability to collapse myriad influences into original forms is never felt more apparent than here, across eight tracks tethering strands of wide-eyed early industrial musicks to prevailing Pacific rim inspirations and an inner voice dialogue as elusive but palpable as DMT geometries and angels, as revealed to scalp tingling degrees in closer ‘Cotu’, benefiting from Teguh Permana’s traditional Javanese tarawangsa strings. In the strongest, potent sense, the whole album plays out like a trip leading up to that closer, and makes us feel as though we micro-dosed with brekkie this morning.
With entheogenic subtlety and spiritual tingles, the LP ebbs and flows with a preternatural effervescence from sublime flamenco bouquet ‘Corey’, replete with siren call coos, thru the gently shearing, xenharmonic fractals of ‘Fly Care’, to a standout of thrummed cello, performed by Yuki Nakegawa of KAKUHAN, knit with almost 3-step style South African rhythms and smeared brass on ‘Master of Disguise’. Fleeting moments of chamber classical poignance (‘A Single Grain of Sand’), and a centrepiece bliss-out of ELpH-ish potency (‘Blue Joe’) are primed to make listeners blip out, wondering what just happened, before the session enters its declension phase; rolling out the voice in your head subvocalisation and gnawing noise pulse of ‘Uki’, and the trilling, hyperbolic geometries and monks-on-acid choral chant of ‘Dome Mosaic’ upon one’s 3rd eye.
Take yourself away in the country with this one for optimal effect and psychic good health.
Boomkat Product Review:
Firm faves of the Naarm new skool, CS + Kreme, catch a fresh breeze of lysergic psych-folk and wistful eleectronics on a gorgeous 3rd album - the best format to fully indulge the duo’s mind-drift wanderlust. A must check RIYL Coil, Cyclobe, László Hortobágyi, Kakuhan, HTRK/Jonnine Standish, Pelican Daughters.
Since their self-titled 2017 debut for Total Stasis (which seriously needs a reissue!), CS + Kreme have been the most reliable soundtrackers of downtimes with a style that has shape-shifted where the wind carries them; from downbeat electro-pop, thru the lockdown succour of ‘’Snoopy’, to the more rugged zest and zeal of ‘Orange’ in ’22. As the title of their new LP implies, ‘The Butterfly Drinks the Tears of the Tortoise’ depicts the duo of Conrad Standish & Sam Karmel at their most poetically possessed, slanted and enchanted. The sound system-biased weight of their previous LP is here vaporised into thizzing, bittersweet tones and slinky shadowplay, diffused dubwise in loosely grooving, head-unzipping forms.
The staple Naarm/Melbourne pair’s ability to collapse myriad influences into original forms is never felt more apparent than here, across eight tracks tethering strands of wide-eyed early industrial musicks to prevailing Pacific rim inspirations and an inner voice dialogue as elusive but palpable as DMT geometries and angels, as revealed to scalp tingling degrees in closer ‘Cotu’, benefiting from Teguh Permana’s traditional Javanese tarawangsa strings. In the strongest, potent sense, the whole album plays out like a trip leading up to that closer, and makes us feel as though we micro-dosed with brekkie this morning.
With entheogenic subtlety and spiritual tingles, the LP ebbs and flows with a preternatural effervescence from sublime flamenco bouquet ‘Corey’, replete with siren call coos, thru the gently shearing, xenharmonic fractals of ‘Fly Care’, to a standout of thrummed cello, performed by Yuki Nakegawa of KAKUHAN, knit with almost 3-step style South African rhythms and smeared brass on ‘Master of Disguise’. Fleeting moments of chamber classical poignance (‘A Single Grain of Sand’), and a centrepiece bliss-out of ELpH-ish potency (‘Blue Joe’) are primed to make listeners blip out, wondering what just happened, before the session enters its declension phase; rolling out the voice in your head subvocalisation and gnawing noise pulse of ‘Uki’, and the trilling, hyperbolic geometries and monks-on-acid choral chant of ‘Dome Mosaic’ upon one’s 3rd eye.
Take yourself away in the country with this one for optimal effect and psychic good health.
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Boomkat Product Review:
Firm faves of the Naarm new skool, CS + Kreme, catch a fresh breeze of lysergic psych-folk and wistful eleectronics on a gorgeous 3rd album - the best format to fully indulge the duo’s mind-drift wanderlust. A must check RIYL Coil, Cyclobe, László Hortobágyi, Kakuhan, HTRK/Jonnine Standish, Pelican Daughters.
Since their self-titled 2017 debut for Total Stasis (which seriously needs a reissue!), CS + Kreme have been the most reliable soundtrackers of downtimes with a style that has shape-shifted where the wind carries them; from downbeat electro-pop, thru the lockdown succour of ‘’Snoopy’, to the more rugged zest and zeal of ‘Orange’ in ’22. As the title of their new LP implies, ‘The Butterfly Drinks the Tears of the Tortoise’ depicts the duo of Conrad Standish & Sam Karmel at their most poetically possessed, slanted and enchanted. The sound system-biased weight of their previous LP is here vaporised into thizzing, bittersweet tones and slinky shadowplay, diffused dubwise in loosely grooving, head-unzipping forms.
The staple Naarm/Melbourne pair’s ability to collapse myriad influences into original forms is never felt more apparent than here, across eight tracks tethering strands of wide-eyed early industrial musicks to prevailing Pacific rim inspirations and an inner voice dialogue as elusive but palpable as DMT geometries and angels, as revealed to scalp tingling degrees in closer ‘Cotu’, benefiting from Teguh Permana’s traditional Javanese tarawangsa strings. In the strongest, potent sense, the whole album plays out like a trip leading up to that closer, and makes us feel as though we micro-dosed with brekkie this morning.
With entheogenic subtlety and spiritual tingles, the LP ebbs and flows with a preternatural effervescence from sublime flamenco bouquet ‘Corey’, replete with siren call coos, thru the gently shearing, xenharmonic fractals of ‘Fly Care’, to a standout of thrummed cello, performed by Yuki Nakegawa of KAKUHAN, knit with almost 3-step style South African rhythms and smeared brass on ‘Master of Disguise’. Fleeting moments of chamber classical poignance (‘A Single Grain of Sand’), and a centrepiece bliss-out of ELpH-ish potency (‘Blue Joe’) are primed to make listeners blip out, wondering what just happened, before the session enters its declension phase; rolling out the voice in your head subvocalisation and gnawing noise pulse of ‘Uki’, and the trilling, hyperbolic geometries and monks-on-acid choral chant of ‘Dome Mosaic’ upon one’s 3rd eye.
Take yourself away in the country with this one for optimal effect and psychic good health.
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