The Weekend Australian - Review - - Music Reviews - Tim McNa­mara

Point Charles Mur­doch Fu­ture Clas­sic

On the back of just a hand­ful of dreamy elec­tronic re­leases since 2013 — in ad­di­tion to an at­ten­tion-grab­bing remix of Flume’s Sleep­less — Brisbane lo­cal Charles Mur­doch has built a solid fol­low­ing. Now, with his an­tic­i­pated de­but al­bum Point, the lat­est young Aus­tralian artist to be signed by lo­cal taste-maker la­bel Fu­ture Clas­sic is star­ing down the bar­rel of a busy 2016.

Point is a solid col­lec­tion of eight largely del­i­cate elec­tronic sound­scapes that nod to Mur­doch’s propen­sity to ex­per­i­ment. It’s not so much for danc­ing as for delv­ing into deeply, and show­cases a metic­u­lous pro­duc­tion ap­proach that is en­hanced through di­verse vo­cal per­for­mances from a clutch of emerg­ing names.

Opener Noth­ing for You is an ethereal start, as Perth’s KUCKA wades in with high-pitched vo­cals amid an eerie, elec­tronic back­drop.

Frogs is the al­bum’s power pack­age, as la­bel­mates Ta-ku and Brisbane’s Wafia trade vo­cals be­tween synth stabs and a re­laxed spo­ken-word in­ter­lude cour­tesy of New York MC Hak; bril­liant stuff.

Open starts all sub­tle and smooth be­fore grad­u­at­ing to a crisp, bro­ken-beat groove over which Chloe Kaul con­trib­utes soul­ful vo­cals. The Mel­bourne lo­cal also fea­tures on Fray, which, with its squelchy synths and am­bi­ent un­der­tones, shapes as an al­bum stand­out.

Pri­vacy be­gins in a flurry of dis­jointed noise that slowly aligns around the melodic pipes of Mel­bourne vo­cal­ist Os­car Key Sung. It’s a fit­ting, im­mer­sive end for an al­bum whose com­plex­ity be­comes more ap­par­ent with each lis­ten.

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