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After a decade of questing through the audio underworld, wrestling crocodile-headed samplers and taming fire-breathing speaker stacks, Spoonbill has returned to the earth's surface, ready to address the planet with a wild spectrum of sonic entertainment.
This time around, Spoonbill's anarchic, quirk-funk, glitched-up aesthetic has been forensically finessed like never before, sculpted to a well-bodied medley of groove-based sound art.
The Spoonbill experience is crafted from an intricate web of edited studio recordings of exceptional musos melded with found sounds, foley folly and synthesised materials.
Squishy pulsating bass lines carpet the undergrowth, while dirty squelchy synth licks frolic in a warped menagerie of neurotic cyborgs, rattlesnakes, sirens, champagne froth, fireworks and crushed eggshells. The jamboree coalesces to form a single groove shrieking beat-creature, covered with feathers, scales, bells and whistles.
The Spoonytune is a diverse musical mutant for late-night dancefloors, introspective train-rides,
and everything in between. The latest batch of tracks will captivate fans of glitch-hop, IDM, breaks, psychedelic electronica, folktronica, dubstep, trip-hop and more – but the Spoonbill's mighty call can't be pigeon-holed into any single genre. Some folk call it “vaudeville electronica”, responding to the jovial carnival feel like circus clowns with lobsters in their pants.
The Spoonbill project was born from an egg on a mountaintop in 2003. Since then Spoony has played countless live shows across 15 countries around the globe.
