{"title":"Screensaver","description":null,"products":[{"product_id":"decent-shapes","title":"Decent Shapes","description":"\u003cp\u003eMelbourne \/ Naarm synth-punk five-piece screensaver return with \u003ci\u003eDecent Shapes\u003c\/i\u003e, their second album. \u003ci\u003eDecent Shapes\u003c\/i\u003e is loaded with bubbling tension, a low grade but growing fever, a rising rage. The frustration is so tangible you can taste it. Detachment and dissociation become survivalist coping mechanisms. \u003c\/p\u003e\u003cp\u003eThematically, screensaver's latest offering finds them exploring existence on an ever-growing trash heap where we’re desperate for the new, the nice and the shiny. A world where materialism reigns supreme and corporate niceties litter the public dialogue but behind closed doors the sentiment is warlike, total domination is the only answer to the bottom line. All of which is underpinned by the band's sonic sense of urgency and a commitment to creating a sound that taps into the mood and spirit of post-punk whilst also allowing space for new wave elements and electronic experiments to shine through. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eDecent Shapes\u003c\/i\u003e was recorded and mixed by Julian Cue, who was also the recording engineer for Expressions of Interest. Defined by a kinetic energy, dynamic range and brooding atmosphere, the 10-track release comprises some tracks that were mainstays within the band's live shows - featuring in their US tour set-list - alongside others which were written later in the recording process. During the creation of \u003ci\u003eDecent Shapes\u003c\/i\u003e, the band also experimented with swapping instruments, allowing for different playing styles and song-writing approaches. screensaver was formed in 2016 as a trans-Pacific project between Krystal Maynard (Bad Vision\/ex Polo) and Christopher Stephenson (Spray Paint\/Exek). \u003c\/p\u003e\u003cp\u003eFor fans of The Cure, Pylon and ESG.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"LP","offer_id":50431157043531,"sku":"2049125","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR158_6a6ecb00_thumbnail_4096.jpg?v=1726855942"},{"product_id":"expressions-of-interest","title":"Expressions Of Interest","description":"\u003cp\u003e\u003cstrong\u003eExpressions of Interest\u003c\/strong\u003e is the debut album from Melbourne\/Naarm post-punk group \u003cstrong\u003eScreensaver\u003c\/strong\u003e. Sonically, the 10-track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths, and motorik drumming.\u003c\/p\u003e\n\n\u003cp\u003eEngineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021. The album opens with the ominously titled ‘\u003cem\u003eBody Parts\u003c\/em\u003e’, an immediately arresting song that showcases the band's penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.\u003c\/p\u003e\n\n\u003cp\u003eMaynard doubles down on these themes in the frenetic second track, ‘\u003cem\u003eNo Movement\u003c\/em\u003e’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett-like flourishes.\u003c\/p\u003e\n\n\u003cp\u003eThe album takes a surprising turn into electronic-driven krautrock on track three with '\u003cem\u003eBuy, Sell, Trade\u003c\/em\u003e' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks\/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.\u003c\/p\u003e\n\n\u003cp\u003e'\u003cem\u003eMEDS\u003c\/em\u003e' transports us back to the foundation established on '\u003cem\u003eBody Parts\u003c\/em\u003e', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.\u003c\/p\u003e\n\n\u003cp\u003eIt's from this point in the album that the band lets their other influences rise to the surface, as they explore touches of EDM on '\u003cem\u003eStatic State\u003c\/em\u003e' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bassline culminating in a track worthy of the dancefloor.\u003c\/p\u003e\n\n\u003cp\u003eOpening side two we have '\u003cem\u003eSkin\u003c\/em\u003e', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to color in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.\u003c\/p\u003e\n\n\u003cp\u003eIn ‘\u003cem\u003eAttention Economy\u003c\/em\u003e’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘\u003cem\u003eAttention Economy\u003c\/em\u003e’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom-driven beat, lush synth lines, and minimal bass tones.\u003c\/p\u003e\n\n\u003cp\u003eJust when you thought things had slowed down, Screensaver ramps things right back up again with ‘\u003cem\u003eOvernight Low\u003c\/em\u003e’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’\u003c\/p\u003e\n\n\u003cp\u003eBefore you can catch your breath, we have ‘\u003cem\u003eRegular Hours\u003c\/em\u003e’ - another industrial track, and perhaps the sister song to ‘\u003cem\u003eStatic State\u003c\/em\u003e’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.\u003c\/p\u003e\n\n\u003cp\u003eThe album closes with the fittingly titled ‘\u003cem\u003eSoft Landing\u003c\/em\u003e’, literally bringing the listener back down... softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘\u003cem\u003eAttention Economy\u003c\/em\u003e’ a few tracks earlier.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eExpressions of Interest\u003c\/strong\u003e was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘\u003cem\u003eStrange Anxiety\u003c\/em\u003e’, throughout the first months of the Melbourne 2020 lockdown.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black | LP","offer_id":50463928451403,"sku":"1127327","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/49be2394-488f-454e-a0ec-7166d241b19c_thumbnail_4096.jpg?v=1727268593"}],"url":"https:\/\/shop.roughtrade.com\/collections\/screensaver.oembed","provider":"Rough Trade","version":"1.0","type":"link"}