From Cook “Cookiedawg69” Craig, rhythm guitarist for band King Gizzard & the Lizard Wizard, comes another war and upbeat record of psychedelic synth pop. Under the name Pipe-eye, Craig has been releasing work since early 2015, with a sleek retro-futurist aesthetic. His debut EP, “Cosmic Blip,” sounds much like what every other Australian band was producing at that time: a long-lost piece of 1960s garage rock.
With his next two albums, “Laugh About Life” and “Inside/Outside,” Craig would find his own distinctive style. As Craig is proficient in guitar, bass and keys, every record is self-recorded. While playing every instrument by oneself is undoubtedly a daunting task, Pipe-eye proves that ability can lead to a hyper-distinctive style.
This latest record, “Pipe-defy,” is standard affair for the Aussie musician; wonky synth rock with highly introspective lyrics. The lead single, “Lords of Lithium,” exemplifies Pipe-eye’s ethos perfectly. Bubbly sawtooth pads and a busy bass line backdrops an ominous chorus about phone addiction. Craig muses “I’m coming up freely with the lords of lithium / They’re who I’m tethered to, and I can’t get no freedom.”
The next cut, “I’m Coming Back,” is an energetic and lighthearted song about homesickness, filled with odd percussion instruments and Craig’s distinctive nasal harmonies. “Travertine,” the second lead single, is a highlight of the record. A much more laid-back track, Craig sings monotone over the tightest groove on the record. The orchestral stabs that come in between the second verse and chorus are laughable in the greatest way possible, and the saxophone solo in the back end of the song sounds like something from fellow Melburnian band Men at Work.
“Best Party Ever II” is a sequel to “Best Party Ever” off “Inside Outside.” The first song is completely instrumental, reminiscent of “Being for the Benefit of Mr. Kite” by the Beatles. The sequel has almost nothing to do with the original, save for the subject matter. Featuring a shakily energetic flute and a chorus of hand clapping over reverb-drenched synth lines.
“Fortune Cookie” leans heavily into funk, heavily emphasizing Craig’s wildly busy bass-playing and the steadfast drumming from King Gizzard’s Michael Cavanaugh. It’s one of the catchiest cuts off the record and showcases Craig’s ear for inventive melodies and danceable grooves. “We’re In This Together” is a kitschy love song, featuring a sparse synth bass line over a shuffle groove. The track also features guitar, which is a rarity on this record in particular. Though this song is overall one of my favorite cuts, it was at this point that I started to get a little tired of Craig’s vocals.
The record’s closer, “Don’t Fade Away,” starts off very unusually, with a moody chord progression accented by staccato flute and bongos. However, it does turn more so into standard Pipe-eye affair once Craig’s vocals kick in.
“Pipe-defy” contains all the hallmarks of Craig’s work. Although, there are some stylistic leaps that could’ve been taken further, and after a certain point the songs all start to sound the same.
With that being said, the overall aesthetic present in this album is its greatest strength, being a unique blend of mesmerizing synthesizers and melancholic lyrics. Plus, it must be very tough being a part of two touring bands on top of this solo project. In this new record, Pipe-eye starts to take steps into new territory; changes that will hopefully be expanded upon in future releases.
Rating: 3.5/5
yes st pierre you go review that album