#29. FAUX PAS – LOSTWORKS
One of the best kept secrets of the year is the genius that is Melbourne’s Tim Shiel, AKA Faux Pas, and this compilation of unreleased material and b-sides. Lostworks serves as a companion piece to Shiel’s very good 2010 release Noiseworks (which you can buy, along with his other stuff – and I highly reccomend that you do – on iTunes) but brilliantly plays out like a well-crafted and thought out album all in its own right. In fact, I prefer Lostworks to Noiseworks – both are actually very excellent but incredibly different to one another and the mood running through Lostworks has a real undeniable magic about it.
This album is like an electonica fans wet dream; there’s a totally nuts/amazing bleepy French House moment on the monstrous “I Will Follow” that teeters into Vitalic territory without turning into Techno. Really progressive and incredibly driving – these are the general musical themes within the darker tones of Lostworks. “Maximums” plays as an epic 8-minute mid-tempo dance track that harmonises excellently with exquisite classical piano keys and a thumping bassline. There’s a particular beat drop at the 2″40′ mark that just kills me every time – incredible stuff and full of so much emotion. Oh, and of course the genius slight hint of a saxophone does indeed help proceedings reach even greater heights. The slight guitar strums and power running through the gorgeous “Renfield’s Dream” is one of the most incredible songs to listen to when hungover, but not as incredible as it is driving through the night after a hot Summer’s day. Lostworks serves. it. up. from start to end, and this particular track serves up an even more exciting twist in its final two minutes.
It’s the stunning album opener, a chilled disco-bassline enveloped by angelic edges by the name of “Organon” that reigns supreme as one of two moments on Lostworks that are the records finest of hours. A deep, very progressive-house styled journey into a musical wilderness – it’s that type of electronic/dance music that really takes you on a massive journey as you travel along with it. The second is the mental “Skwlver Line”, which starts out a little like Band Aid’s “Do They Know It’s Christmas” before ripping you a complete new arsehole and taking things to Paul Kalkbrenner heights. One of the most exciting songs I’ve heard from an Australian act this year.
Lostworks is great in that it’s not threatingly banging-a-dance-album that you can’t listen to when you’re just relaxing at home, but it’s also great because it is still incredibly danceable as well. Almost every moment on this 10-track gem is booty-shakeable to. So much so that it’s one of the few albums I’ve shared around heavily with friends that really appreciate electronic music, because as far as I’m concerned this is one of the most accomplished and thrilling dance albums this country has produced in years and people who like that need to be aware. What makes this so definitively special to all other dance records this year is that it’s dancey but has it’s feet very firmly planted within organic instruments, musical notes and melodies. A truly special moment in Australian Music that will go by unnoticed by so many, and that, my friends, is one of the biggest injustices of them all.
Amazingly you can download Faux Pas’ LOSTWORKS COMPLETELY LEGALLY AND FOR FREE (!!!) from his website. So now you have absolutely no excuse.