News updates for Tunabunny

Tunabunny / Bastards of Fate at Collapse Board

Click through to check out more commentary.

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Bastards of Fate and Tunabunny at Stereo Embers

Bastards of Fate:

Possibly the most challenging listen of all 40 albums on this list, the rewards unlocked by repeated spins are so rich and satisfying the word ‘ample’ barely suffices. Though one supposes that the gloriously inspired noise they make rather ensures a measure of obscurity, it’s nonetheless unfair. All the world should be basking in this Roanoke band’s mighty – and genius – oddity. Key track: “Winter of Our Discontent”

Tunabunny:

Did someone mention something about Athens rising? Oh, wait, that was us. Yeah, they’re coming in from all directions down there again. Not they ever really stopped, of course, it’s just recently it’s just kind of…gone boom, and there could be no better representative of the vitality of the scene down there than Tunabunny. In our review we put them in a league with Deerhoof. We weren’t wrong. Key track: “Power Breaks”

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Tunabunny at Dynamite Hemorrhage

Previous Tunabunny albums have always been marked by the occasional detours away from their Pylon-accented noise-pop blueprint & into more experimental sound collage territory, but on Kingdom Technology, they’ve fully given themselves over to those once-brief shortcuts toward non-linearity & the off-kilter sound glitches resulting from their choice to record this latest LP on an imperfect sound input device apparently liberated from a dumpster at the University of Georgia. They’ve also been eating some serious dub for breakfast & it shows, like during the six opening minutes of “Airless Spaces,” with its repetitive mutant disco bass/drums groove & submerged spectral vocals (from guitarists Brigette Adair Herron & Mary Jane Hassell), or “Save it Up,” with a decidedly warped & wobbly early-80s ZE Records-style electronic pulse. I think their greatest successes come when they take their stabs at short & sweet fuzzed-out pop songs & there’s a few such gems scattered amongst the musique concrete manipulations here – namely “Coming For You,” with the sort of sharp hook & sublime harmonies that most power-pop bands would kill for & “Canaries in Mineshafts,” which is barely over a minute long & sounds kind of like a female-fronted Chairs Missing-era Wire wrapped around some gloriously messy Sonic Youth guitar noise. That being said, I’m still curious what they’ll dig out of the trash for their next album. (Happy Happy Birthday to Me – hhbtm.com)

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Tunabunny at Flagpole

Eccentric and prolific local rock group Tunabunny is reportedly prepping yet another new LP, titled PCP Presents Alice in Wonderland Jr., the follow-up to March’s weird and lovely Kingdom Technology. But while they’re at it, they’re still churning out visual accompaniments to tracks from the last release.

Today, we’re happy to premiere one such project, the video for Kingdom Technology‘s ethereal opening track, “Airless Spaces.” The clip, which features a first-person journey through a strip mall, is as formless and yet arresting as the band’s music.

Watch below:

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Tunabunny Live Recording at Southern Shelter

Click through to check out Tunabunny’s Athens Intensified set.

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Tunabunny at Fear and Loathing in Long Beach

I love your latest record Kingdom Technology. In my opinion, it’s a primal
garage scream of electronica, erotica, and neurotic impulse. What impact
did you seek with the compositions and accompanying album artwork?

Our friends Chris Nelms and Jason Matherly did the artwork, and aside from
thinking they’re wildly talented we’re big fans of each other’s work so it
seemed natural to ask them to do the cover. We don’t necessarily make
music to have an impact—if anything, we have an impact because we make
music. But if we could control the results of our intended impact, we’d
all have swimming pools shaped like palm trees.

You have referred to pop/rock as a “played-out corpse” with Jack White
being the best example of a derivative formula based musician. Do you
feel that the inclusion of ear pleasing melody and harmonizing throughout
your own compositions resembles pop/rock in anyway?

We think our compositions resemble pop/rock in every way. But you know,
all our pop friends think we’re hopeless weirdos, and all our avant-garde
friends think we’re rock stars. Which is probably the best place to be.

You have addressed modern music as “over privileged boys and girls
looking to manufacture an identity…” I personally think there are many
unaddressed personality disorders clogging the creative air of unique
artists and musicians. Why do music listeners pay so much attention and
money to generic retreads of the past?

Because they’re generic retreads of the present? More likely they’re just
responding to a conservative music press/music industry. With so much
music being made these days, it requires a lot of determination to sift
through it on your own, and as a result people are dependent on
websites/critics/etc. to recommend stuff to them. If that stuff is
backwards-looking and easily digestible, it’s more the fault of the music
press/industry than the music listener.

What is the typical reaction to Tunabunny that you encounter the most?

Confusion and/or adulation. Also, an increase in the use of thesauruses.

Do you think music in general should always be undefinable or
unpredictable? Does it benefit the band or the listener more?

We don’t think there’s that much of a split between band & listener. We
were (and are) music fans before we were musicians. And as listeners,
yeah, we tend to get excited by music that sounds different than what
we’re used to (recent examples of this would be Bastards of Fate, Blanche
Blanche Blanche, and Micachu) than something that sounds like, say, The
Stone Roses (though we all unabashedly love their 1st album). But should
it always be undefinable or unpredictable? Not if you want a bigger
swimming pool, apparently. But it’s good to keep in mind that owning a
swimming pool increases your risk of skin cancer.

Click through to read the rest!

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Tunabunny at Stereo Embers

Tunabunny records at #49 and #51 out of top 100 records of the decade!

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Tunabunny at The Finest Kiss

As Elvis Costello once and, “accidents will happen” Athens, Georgia’s Tunabunny found a synthesizer in the garbage heap and infused their indierock with some art school blips and bleeps and came up with one of the catchiest, funnest sounding records of the year.

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Tunabunny at Whisperin and Hollerin

I know very little about Tunabunny other than they come from Athens, Georgia and I was sent this vinyl LP which features great painted sleeve artwork by the band themselves. It seems to indicate they are probably art-rockers of some kind.

The album proffers a quiet, lo-fi opening that builds as the Naomi Yang-like vocals come in and the sparse drumming underpins it and eventually the album gets airborne with what sounds like an airplane taking off across my speakers.

Canaries In Mineshafts is like a cross between The Blake Babies and late 80’s Sonic Youth. It’s a great short sharp blast of a tune. Save It Up brings a minimal techno Beth Orton vibe to the table but you need to turn the throbbing bass up so that the anger can be used in a positive way as the lyrics have it.

Different Jobs goes all Glitchcore industrial lo-fi with crawling keyboards and disembodied vocals that are a bit Meatjoy if that isn’t too obscure a reference. Power Breaks however is all casio keys, glitch backing and cool vocals on an early Kraftwerk meets Dif Juz driving tune that pulses from the speakers.

Good God Awful is a wonky pop lo-fi slag off chant-along with the odd weird diversion. It’s a song that leaves you wondering if she really likes the object of her disdain or not. Tete-A-Tete finishes side one with some Theremin pulses; almost like an interlude piece apart from the vocals going a bit Karen Finley on us but not as filthy as that might imply.

Side 2 opens with Tunabunny Coming For You: an upbeat indie pop floor filler that gets a bit Sundays-esque. It’s probably the most commercial tune on the record. That’s followed by the noises and pulses of Not New Years, full of pulsing claustrophobia like a really bad hangover.

Empire is Glitchy bleepy and beguiling lo-fi that ends with an odd radio sample. Chalked Up is all Slits meets Sleater Kinney in an alternate lo-fi universe with some cool lyrics making this a great slag off tune.

Terminal Departure seems to be a slow almost church-organ style sort of chill out interlude that leads into Bag Of Bones: a surprisingly Donna Summer goes Italo-disco in a pit of deep nasty bass thumps sort of tune that could easily become a bit of a club tune with very little re-mixing.

The album finishes with (They Say) This Is Where Our Dreams Live; full of low down hums and noises with a carefully told story that takes us on a bit of a hell ride. In a very cool way it almost sounds like the more experimental end of Everything But The Girl but more out there than they get as a rule.

This is a cool album that never settles into any sound for long enough to become boring or sound remotely mainstream. Simultaneously, it still manages to be rather compelling and at times rather poppy too.

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Bastards of Fate, Tunabunny, and Muuy Biien at Pop Rock Nation

Bastards of Fate, Vampires are Real and PalpableLoud, woozy, strange, carnivalesque, racing from one idea to another, and prone to explosions — all with crooned melodic vocals.

Muuy Biien, D.Y.I. An abrasive, churning, hostile splatter of echoey 2-minute punk-rock songs, more spoken/yelled than sung, that’s very well-played for what it is and ends up striking me as lots of fun. The surf-rock influence helps.

Tunabunny, Kingdom Technology. A very strange amalgam of vocal-harmony-driven rock’n’roll, drone/ambient, and Fall/Wire-ish post-punk.

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