From the illusory world that brought you everything you’ve ever seen, create a niche for Drunk Pedestrians. They’re your new favourite band that combine several genres to make songs from electronica to rock infused hip-hop. Their latest LP is called F#, and that’s what we all got in the last 2 years. Some more than others, but that’s not the point. Get your earholes ready for some sonic drama.
Kicking things off with Steel & Stone, Drunk Pedestrians absolve the essence of their older albums to a imbibed vibe from Gorillaz. Just like that group, DP make a splash with catchy hooks and in this case, a beautiful Alicia Keys like voice that warms us up for what we can expect.
Each song is a collaboration with another artist, so you might want to keep your ears perked up for someone you might like. Infinite collabs with Voice Monet, a track that channels the great Rapsody for clean, crisp verses. They sparkle in the dark and shine in the light, another stellar track and its just the beginning.
Drunk Pedestrians and Venomous 2000 surf on the synth wave with this power packed track, Believe. It’s a no gimmicks world for them, and they are talking business with the song styles. Each has a different flavor to it owing to the artist’s expertise, and is thrilling to listen to.
Julianna McDuffie and DP collaborate here to make an almost steampunk Genesis sound with Asleep in Dreams. The echo reverberates for long, while Julianna’s voice reminds us of Thom Yorke’s drawl across the microphone and space in between. It has an acoustic touch yet, the background demands attention with its haunting sound sometimes.
StressWon & Aaron Hill guest star in this classy hip-hop style track with some smooth R&B references. Ain’t My Girlfriend makes another bejeweled addition in this album, with the addictive piano still stuck in my head because of the simplicity of the hook.
With a theater like interlude, Goods & Drunk Pedestrians make a PSA with some focus on the spatial disorientation that it would need. Time must be in disarray now, and the track does that precisely. It might be an interlude, but some verses are gifted to us anyways.
The song might sound like Still D.R.E when it begins like that, but the Chronic inspired song is a salsa around that style. Taking enough space before laying the beat down, Overqualified explores the range of this group who will mould their shell according to the artist, and seemingly succeed.
With a funk phaser opening guitar sound and Rapsody style rap back-which is indeed real. The hook is on the bass and that guitar riff, with this rap-rock sound being a unique addition to their selection here. They might keep Runnin’, but we sure do want to catch up.
With an industrial beat sound, Jeremy J Nickel and DP make another reference to the Gorillaz brand of catchy tunes with Anew. More of a narrative than a rap, it has a different catch to it, before the song starts. Not focusing on a tune rather than making a collective of notes is an interesting choice.
Let It Die makes a return to R&B and soul sounds. Jordan Santana makes a debut here musically with some tight rhymes that run over mysterious backgrounds, barely sustaining before changing. The piano highlighting during the chorus is a signature for the song, as it spills into the verse as well.
After Asleep in Dreams, Julianne McDuffie makes a return for a new style, and closer for the album. It is a reminder of the sound created by supergroup Atoms for Peace, in more ways than one. The song has an echoing lasting sound, the lower frequencies flowing through with the heavy bass that dominates the track. The voice is really striking due to the canvas at the back.
Drunk Pedestrians make another experimental miracle that refuses to be defined by one style. Each artist has a signature show to put on, and the songs highlight the versatility of the group. Adding to their collection of songs, F# is going to help change the game for them.