ALBUM PREMIERE: Melbourne’s Skydeck Deliver Powerful Debut LP ‘Eureka Moment’

SKYDECK.

SKYDECK.

Melbourne duo Skydeck have arrived with their very impressive DIY-debut, Eureka Moment. Spanning eleven tracks, Mitch Clemens and Dominic Kearton have created an album that’s as personal as it is political; a dynamic documentation of young Australian life in 2019. The off-kilter guitars detail the restlessness of a generation, while the swirling synth offers us that little glimmer of hope. For all its lo-fi charm, it sure does hold a lot of depth.

Real life housemates, this album sees the pair take their unique sound well beyond their own four walls. From start to finish, their intelligent lyrics drift above the grooviest of bass lines, only to be halted by an obscure swirl of fuzz or a distant glitch. Every detail counts. Standout tracks ‘Torniquet Too’ and ‘Never Not That’ ring loud with post-punk sensibilities, digging deep with clever social commentary too: ‘Textbook got the facts wrong / Now it’s history from a rush job / Does it matter if you’re never not dishonest?’

Whether it’s past love, the price of an Uber pool or a ‘Stolen Car’ – Skydeck might feel the weight of existing in 2019, but they’re definitely having a good time too. In fact, there’s a self-awareness that feels more meditative than chaotic – a vortex of sonic anxiety that I’d happily spiral in. If anything, it’s over too soon.

We asked the duo to detail their five favourite ‘moments’ on their excellent debut. So, here goes, courtesy of Mitch Clemens:

1. ‘Solid State’ 2:57-3:13

It's been really annoying trying to make sounds like this playing live, feedback's funny and sometimes makes me feel like I'm performing an affectation or something, but I guess ideally, it's a kind of visceral way of interpreting a feeling, in this case: trying to break out of a rut.

2. ‘Eureka Moment’ 0:47-0:51

I remember reading some band talk about keeping studio chatter and guitar fumbles and those kinda things in their recordings, because it like alludes to when that had to happen because of how you'd record things, in the old days? I don't know, I wanted to keep me clearing my throat in the song because I like it when DOOM does it.

 

3. ‘Cryptic Bassline Project’ 0:49-1:02 

"Elon Musk says that we all tolerate public transport only because we operate under the premise that good things must be painful, maybe it's the same with public art, and Lush's murals, the citizen and spectator become the martyr" -  I'm not sure what Eva is saying here and I only really ever understand Musk up to a point where I realise I disagree with him, but I do love the word martyr.

 

4. ‘Stolen Car’ 1:11

This is the point that I had to stop playing the recorder because my housemate Anthony came into my room and asked me if I could please shut the fuck up.

 

5. ‘Shark Eyes’ 0:57-1:01

I asked Dom what his favourite moments from the album were and he said, "the feedback from the Leem". The Leem is the amp that we used to record most of the guitar, and it had a very loud buzzing noise that I guess is the result of great tone at a great price. This song, in particular the ending, really spotlights that buzz. It's not a very popular opinion, but I like the Leem, I think it adds character and the buzz is kind of like a drone of uncertainty, my mascot.

Eureka Moment is set for release this Friday 15th March via Dinosaur City Records (Aus) and Burger Records (USA).