released December 5, 2011

Bunny & The Electric Horsemen - “Fall Apart in My Backyard” (BS015 - 2011) :

Cheerful midi sounds chirp away in a soufflé of sun baked noir-esque guitar. Whimsical Japanese vocals insinuate themselves from echoing caverns that hide the Radiophonic Workshop’s pet cat and outside sounds become inside and what happens in your head doesn’t necessarily stay there. Like the other albums I have heard on this label [Bearsuit Records] this is fucking brilliant. Baffling, surreal and totally idiosyncratic are just some of the frighteningly positive adjectives I could use to describe it and I have to admit I’m a little offended that you’re still sitting there like a lemon instead of following the link to go and buy it.
[Sitting Now]

One of the more experimental listening experiences I’ve had in a long while, Fall Apart in My Backyard is at once challenging, playful, frustrating, and a lot of fun. As the title suggests, it’s mostly electronic, but with liberal elements of glitch, Kraftwerkian krautrock, and toytronics (a la Experimental Audio Research’sData). ‘Tivoli’ is a haunting, outer space blip on the way to the heart of the sun. ‘Pomorski’... gorgeous pop elegance. So if soundtrack music accompanied by alien soundscapes populated by multilingual utterances is your bag, this could be one of your more exciting purchases of the new year.
[Terrascope]

Fantastic album!
[Gluid]

That's amazing stuff. Heard a little bit in there that reminded me of Broadcast. B & TEH sure know how to write a good tune. On tenderhooks for this full release as ever, as Bunny and Electric Horsemen produce such lush music. It just drips with excellence.
[Phil Vickery - "In-Tune"]

Decidedly odd - but perfect for this time of night!
[Tom Robinson - BBC6 Music]


To say that ‘Fall Apart In My Backyard’ is an experimental work would be the understatement of the year. [‘Snowflakes’] resembles the more avant garde moments of Björk but there is a structure which eventually builds up in to an impressive art punk chorus. Other images evoked by the music are underwater childrens’ fantasies (‘Banjo Williamson’) and Japanese exotica (‘Chikyu Wa Mawaru’). The madness does settle down for the spare ‘Singing Ringing Tree’ and the relatively sombre ‘Quel Vino è Generoso’ but in between ‘Pomorksi’ provides an explosion of vivid colours …tuneful in a childlike, oddball scientist kind of way.
[Leonard’s Lair]

Razlog je jednostavan, a to je unikatnost zvuka. Bunny & The Electric Horsemen kroz elektroniku provlače pop i rock standarde uz ogromnu dozu ambijentalnosti i eksperimentalnosti, pa sve to zvuči kao da The Flaming Lips obrađuju Kraftwerk i pri tome uzimaju dodatne stimulanse ili kao Björk zalutala negdje daleko na Dalekom istoku gdje pokušava kroz glazbu spojiti se s vanzemaljcima. Najbolji dojam ostavljaju pjesme "Snowflakes" koja se najviše približila zvuku mješavine The Flaming Lipsa i The Go! Teama provučenog kroz omču elektroničke psihodelije, te "Chikyu Wa Mawaru" koja spaja japansku glazbenu tradiciju s modernom europskom elektronikom u stilu Kraftwerka.
[Muzika.hr]

Weird that, ain't it - but great!
[Jacob Rickard (BBC Radio Kent, "Introducing"]

The songs on "Fall Apart In My Backyard" are serious and thoughtful to the point of sonic introversion. However, there are uplifting moments of elegance such as the brooding wistfulness to be found in "Singing Ringing Tree" [which] contrast nicely with the more oblique and discordant tracks like "Quel Vino è Generoso
[Bluesbunny]

It’s nice to see that Bunny has managed to successfully bridge the distance between strangeness and accessibility. For the album he recruited the help of some of his label mates like Serbian producer PNDC and the vocalists Eleni Adamopoulos (Magnitophono) from Greece and Manami N. from Berlin.The two songs [PNDC] collaborated on are my personal highlights on the album. Snowflakes builds up to a roaring indie anthem, and Chikyu Wa Mawaru is a playful J-pop item.
[DisAgreement]

Da ne kompliciram priču, ovdje se nalazi eksperimentalni elektronski pop s ponešto analognog pristupa (malo gitara), a sve skupa zvuči kao da će odnekud iznjedriti David Sylvian, Ryuichi Sakamoto i David Bowie iz svojih elektronskih faza. To je super. "Banjo Williamson" je stvarčina koja jeste potpuno snena i nalikuje na kombinaciju Sylviana, Sakamota i Bowiea u trip-hop ritmu, ali ima strašnu melodiju odsviranu u kanonima na gitari, ksilofonu i synthu, te se doima najboljom na cijelom albumu. Ono, kao mali Bach kada je otkrio finoću kanona... "Chikyu wa mawaru" je otpjevana na nemam pojma kojem jeziku, zvuči semantički kao japanski, ali čini se da je neka zafrkancija bez konkretnosti, no u eksperimentu, to ionako nema nikakve važnosti....
[Terapija]

O álbum começa de maneira enigmática, um pequeno convite que lembra uma melodia infantil subvertida pelo filtro de uma visão maquinal. Não será estranho pensarmos que estamos dentro de um filme obscuro ou de um qualquer cabaret mais alternativo mediante a progressão do disco. Com a disposição certa, este trabalho chega a ser fascinante, mas fácil, nunca o é. As vozes, masculinas, femininas ou simplesmente sintéticas, são usadas como outro instrumento na parafernália sonora. As músicas, com sons enigmáticos espalhados com minúcia, convidam ao silêncio, a um momento próprio em que o nosso tempo pertence a elas. O melhor elogio que posso fazer a este disco é que dei por mim a visitar um qualquer planeta muito distante enquanto o ouvia. O ruído à minha volta desapareceu como por magia, embrenhado nas delícias de temas como ‘Singing Ringing Tree’ ou ‘Pomorski’, pequenas doses de sacarina para o ouvido.
[Projecto Cellophane]

*
credits
released December 5, 2011

Written, recorded and produced by Bunny

Track 2 : Written by Bunny & PNDC (music) & Magnitophono (lyrics)
Track 4 + 9 : Written by Bunny, PNDC (music) & Manami N. (lyrics)
Track 7 : Written by Bunny & PNDC
Copyright © & 2011 Bearsuit Records, ℗ 2011 Bearsuit Records

Featuring : PNDC, Housework, Magnitophono, Hidekazu Wakabayashi and Manami N.

Artwork : Moray Hillary


Copyright © 2011 Bearsuit Records, ℗ 2011 Bearsuit Records