Easy on the eye, with an image to match; an accent to drool over; she's the perfect candidate in every and any sense. This release came out of nowhere and in the couple of days it's been on this earth it has left a trail of confusion and bloodfucking in its wake. What more can be said?
An album release party with a lady performing in front of other ladies can only mean EPIC. Not afraid to (have other ladies) get naked in front of people, it looked like one helluva party. Looking totally in place and completely in control, it shows a lot for the young artist with only her debut album sounding this incredible. Trailing behind Kendrick Lamar as of earlier today, it should probably be number one. I won't argue, I'm not about that. I'll just say that; leave it there to mellow out.
The diversity on the album is incredible. About halfway through, the album goes from the calm, laid-back atmosphere into testicle-sterilizing ferocious animosity. The only dampener I have with the album is the fact that I can't decide if the vocals are lacking, or that they're the greatest thing to ever happen. I'm thinking the latter. Each song fits perfectly, and the album consists of a perfectly steady pace throughout, pumping out classic after classic track. The whole feature deals out radio tracks with that underground edge. No one could do it better.
Speaking of le album, it opens promisingly with the title track, Run. Phazing in with huge space, the heavy beat and synths sit perfect underneath Alison's vocals. Showcasing immediate production excellence, the clarity is tremendous. Not sure where that strange wee-yew sample came out of, but hey. The build up is just enough to drop into the chorus, giving off a sweet flow. It sounds more like a festival song compared to what you'd expect at clubs, but much love.
The McLovin banger, U Don't Know, keeps the spacey atmosphere with strange clicky-claps, and the catchy intro and lyrics are sure to invade your head-space, ensuring its place among any top ten. Steady driving beat, heavy build-ups, scrappy drops; none of this was expected by eye. Sounds magnificent; the perfect combination of catchy and heavy. This quality heaviness is noticeable on the bass. Prepare your manhood, it'll rob you of it. It showcases Wonderland's individualism, and - as always - variance is key.
Slamming into Take It To Reality, again I can't say it was expected. Fuck me. One of the top tracks from the album, for sure. The ambient intro is splendid, but the beat is just marvelous, with a really sick flow to it. The vocals only complement it, coupled with the incredible production. Eyebrows were raised at the change into the synthey part. Full of surprises. The readjustment into the flowing beat is real satisfying. Breakdown strings? Check.
Taken from herself's facebook.
Naked brings in the heavy drums, gearing away from the ambiance of previous tracks. The individuality never changes though. Those heavy drums, man. Fuck me. Running. Varying it up a little bit, the trappy snare gives off a bit of ambiance, which somehow works perfectly with the percussive audio-abuse. Suddenly, a wild DnB drum pattern appears. What the fuck is this drop. Holy shit. I was nodding, then in comes the drop. Pure silence. That moment hangs longer than a 70 year old's balls. Fuck. Then slam; drop. Sick bruv. This shows Lady Alison's production skills tremendously. That DnB is sick though, would love to hear more of it. Second drop: what the fuck, again.
At this point it is dead fair to say that this is the most surprising release since the coming of wheel. Carry On, with its soft "ding", gunshot drumming and old heavy organ, you can see the album veering towards yoke-head mental. Play it fucking loud. The drums are coupled by that characteristically maltreating heavy bass; Jesus Christ dat bass. One might consider the vocals a little forward in the mix, but fuck it. Her voice adds a nice feature. Production, again, is brilliance incarnate.
Heading East, I Want U has a strange introduction reminiscent of oriental tidings. Adds a nice feature, one would think. One would be right. Tube of the You tells me whisperings that this was released a whopping ten months ago; quite a significant amount of time. Bass and vocals are on point, and that build up just brings forth an audible "Oh fuck", then the drop just fists you in the testes. It's basic, yet effective. She's a true master of production. There's so much going on, yet it's all placed perfectly; nothing sounds out. One can easily feel the power in that distorted bass. Each drop is better than the last.
Games is another elite track on the album. Featuring a peaceful yet strange start, the vocals are so clean you could hang your sins on them. Melodic, bordering DnB, there's a really sick groove going on. In comes the synth; the vocals are perfection. The gentle build-ups and soft drops give the impression of the track ebbing and flowing at its ease.
Coachella is going to be lucky to be graced with her majesty's presence. One More Hit has quite a different intro; I'm not entirely sure what's going on there. Reminds me of Tokyo Drift, haha. Initiate sterilizing bass. Wonderland's percussion is real cool, real nice.
Ignore is almost a change in dimension. Only the heaviest of vocals for the intro, and some strange effect happenings, the groove drifts menacingly on top of that heavy beat. Fuck. It's driving, distorted, perfect; words don't justify. What stood out was the fact that the reverb sounds perfectly calibrated to the track, a point not many others can boast. Heavy flow; another one for the yip-heads.
Back It Up brings forth the diversity she does like to show off. The vocals are unusually approached, but come off incredibly fitting. The rhythm of the drums, driving steadily, reminds me of jungly music. They keep the rhythm; steady and industrial, sheer incredulous. Hard, industrial, heavy, distorted, fuck, steel, iron, invading; this track just has it all. Only qualm is that it ends.
Cold would be back in familiar territory, having a video of its own released around six months ago. Big, large, massif bass and drum intro, with softly contrasting vocals make for a sick flow. Centered around the snare, there's a lot going on. Percussion is next level, the vocals are just lovely, the hats bring it forward in a perfect manner. Ambient synths gear up to the perfect gunshot-esque drop. Fuck. An all rounder. Massif beat.
The last track, a much-too-early ending, Already Gone takes a step back to leave you on a gentle note. The Beethoven intro is simply magical, along with the piano. Shows a certain someones abilities. Diversity and variance, boi. The organ gives it a relaxed atmosphere, and the drop keeps in this same space. It's a strange one; lacking drums but oddly prevailing. The normally violating heavy bass is atmospheric and chilled in the background. Taking a leap in every direction, the wah-synth sounds dubby. The outtro is perfect, albeit a bit too soon if you ask me. The album needs at least another ten tracks, then I'll be satisfied. Well, probably not.
I can't say I've enjoyed an album so much in a long time. I did not expect to hear something like this at all. Mucho Lovo, madam. Fucking hell, the album's a beauty. I think I'm in love. The album is currently available on iTunes. It's worth every cent, penny, whatever. Fuck.
Averagity rating: Mucho Above Average. Mucho Lovo.
Links:
Website: http://alisonwonderland.com.au
Facebook: https://facebook.com/awonderdj
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Soundcloud: https://soundcloud.com/alisonwonderland
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so good dude
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