The second album from the Melbourne maestro shows the art of his noise to be a many splendoured thing, conjuring a space where future funk, tropical tones, banked-up beats and astral orchestrations live together in perfect harmony. 2ser Subscribers can win a copy of this album all week on Breakfast, Overdrive and Static.
‘Noiseworks’, the second full-length album from Faux Pas, is a bold vision of 21st century synth-pop lovingly crafted by one man, Melbourne's Tim Shiel.
In the four years since his 2006 debut record ‘Entropy begins at home’ – a self-released pastiche of exotica samples that drew critical acclaim and community radio support – Faux Pas has been far from dormant. There have been three EPs, each containing a lead track well supported by community radio and Triple J alike: Changes in 2007, Chasing Waterfalls in 2008, and Silver Line in December 2009. There have also been remixes for Pikelet, Gotye, Paul Dempsey and many more; plus appearances on compilations for institutions as varied as literary journal The Lifted Brow, respected US label Ghostly International, and Ministry Of Sound.
All of which leads to ‘Noiseworks,’ which was pieced together by Tim in his home studio throughout 2009, and then mixed with the assistance of Melbourne producer Franc Tetaz, well-known for his work with Architecture in Helsinki, Sally Seltmann and Lior.
From the tropical future-funk of Guillotine to the ethereal dream-beat of Vanderbilt, ‘Noiseworks’ is a joyous explosion of digital psychedelia. At times subtle – such as the meditative piano interval Minimums - and at other times, completely shameless – such as the hyper-detailed electro jams Megasports and Dawson Mode – ‘Noiseworks’ is expansive and inventive.
The singles Chasing Waterfalls and Silver Line benefit from generous re-workings - the latter, a hypnotic suite that borrows sounds from Melbourne band The Orbweavers, is a revelation at almost double the length of its radio edit. And while the record is grand in its technique and architecture, an intensity of emotion is never far from the surface.
This record is not an exercise in abstraction; it has feelings.
Evocative and relentlessly detailed, ‘Noiseworks’ is a definitive mission statement of sound that affirms its creator as a true musical iconoclast. It’s a cliché - but on this record, Faux Pas finally arrives.
