The harshly self-depreciating title suggests that Depersonalisation, the new LP from Brisbane-via-everywhere band Nite Fields, is merely a robotic presentation, void of emotional embraces and any notable explorations of the human condition. While, synonymous with negative connotations, at least in this case, the label is a constructive summation.
“Take the hole in my heart”, lyricist Danny Venzin bluntly states on “Fill The Void”, while the distant clattering of instruments, the last remaining signs of unbound expression in this cold, desolate destination, is snuffed out by the monotonous drone of the dominant harrowing strum. It’s a seemingly lifeless place, with vocals tracing over persistent paths and musical mechanics churning over with little variance.
Yet, it’s remarkably engaging.
The compositions’ hauntingly hypnotic qualities should take most of the credit for this, although the slow unraveling of the introspective qualities of the unconcerned prose is equally captivating. With its bleak, sterile exterior, Depersonalisation sounds like a provisional and restless recording, attributable to its patchwork methodology with the record created at twenty different recording locations across three states in a four year stretch. It’s a record entrenched in a lonely, dystopian existence, the ideal environment for the slickers of pop brightness, scatterings of positivity to shine their brightness.
In an attempt to unravel these conflicting, inexplicable qualities, Danny Venzin pieced together some slithers of insight into each of the album’s songs for us.
This is the eye of the storm. Gangajang might “watch lightening crack over cane fields” but we stand and record them with an iPhone.
2. “Fil The Void”
Probably not the best song on the album but very much a showcase of what we are about. I’m not interesting in the swinging trends of analog to digital and vice versa, and Liza will attest to the fact that I’ll happily add both tofu and meat to spaghetti Bolognese sauce.
3. “You I Never Knew”
Probably the best song on the album but very much not a showcase of what we are about. The music might be pretty but lyrically this is the heaviest track on the album.
4. “Come Down”
The first Nite Fields song that appeared as a gift from below almost fully formed. No mum, this song is not about drugs.
5. “Pay For Strangers”
Somewhat about my disregard for money but more about Chris’ disappointment at never having been to The Cabaret Club.
This song originally contained a) bongos b) djembe c) cowbell or d) all of the above.
Another fucking love song.
8. “Like a Drone”
Influenced by my relationship with a far too sweet girl, who, as you can hear, also has a much better voice than I do. We recorded the vocals in the shower of the Bardon sharehouse I was living in at the time. Just a few days later I was evicted and it was demolished to put up some multi-million dollar apartments. Campbell Can Do.
9. “Winter’s Gone”
This song. Fucking hell. We recorded it five times with four different people to get it right and it’s only thanks to Whitney’s insistence that we’re here at track #9. Don’t leave without hearing the sax solo.