It’s Better I Don’t Know is a genre bending album drawing on a range of influences from alternative and pop to electronic and even a hint of jazz. There is a laid back feel throughout the record, yet this is tempered perfectly with the intricacy of the music and the lyrical subject matter, making the whole audio experience well rounded and effortlessly interesting.

The album kicks off with the sound of a tape deck and some background noise before an interlude of jazzy guitar chords launches seamlessly into the flagship single Stay. The use of sound effects is a subtle but important part of the production on this album and it adds a lot of texture to the tracks.

Stay falls in to rhythm with some reverb dappled guitar and simple percussion. The vocal line swims over the surface and there is a distinct jazz-standard vibe brought up to date by the modern production and groove. The fuzzed out guitar solo is a nice touch as are many of the surprising added musical motifs that betray an underlying complexity to this seemingly mellow track.

The next song Her features some fantastic lyric writing from Nicole as well as Felix’s hypnotic repeated guitar riffs. This track is reminiscent of Black Sabbath in their quieter moments. There is a brooding, haunting quality that is brought about in no small part thanks to the intricate interplay between guitar and vocals. There is a real sense of synchronicity between the two members of the band. The sound gels beautifully and brings to the fore the cohesion of their musical vision.

Synthia is a real stand out, even against the high quality of the other tracks on the album. There is something in the production and urgency of the delivery that hammer the track home. It is a slow burner, but worth the investment. As the layers build and the parts morph from one to another, so the overall feel and power of the music grows as well. Lyrically the words flow wonderfully and fit into one another with pleasing vocal dexterity. The depth and range of the music is ever changing and it is testament to Felix’s compositional skills that it never feels forced. New parts flow into one another seamlessly, very much reminiscent of some of the complexity of jazz harmony.

This marks the halfway point of the album. The tape deck sound effect simulates turning over the tape and the omnipotent storm sounds are heard in the background. Let Me Be Lost is an instrumental interlude, a moody and visceral soundscape that bridges the gap between the two halves of the album.

Show Me Teach Me has some great chilling chord changes and twinkling synth work. It unfolds its heavy atmosphere, characterised by deep swathes of bass and razor sharp vocals. Once again, there is some great composition that keeps the sound fresh and interesting, morphing between major and minor tonalities. It is another track that builds in intensity as it goes on, the percussion pushing forward and bass driving the pulsing rhythm along.

The EDM styled drumbeat and minimal production makes Goodbye a bit of a departure from the rest of the album. SkeletonCrew use the dynamic of the rhythm section to great effect, often dropping the percussion or bass out of a track to highlight certain passages and to emphasise a return to the beat. Nicole uses the full range of her voice to really express the mood of the track and add to the dualistic themes of dark and light in this song.

Come And Get Me rounds off the second half of the album with a funky and jazzy flourish. Featuring many interesting changes and layers of instrumentation as well as arresting lyrics and cool delivery. Come And Get Me is a perfect showcase of everything that makes SkeletonCrew the ingenious and consistently creative powerhouse that they are.

SkeletonCrew are definitely a band to watch out for. Felix Danilo’s inventive compositions are fabulous examples of how to use some fairly ‘out-there’ harmonic ideas to enhance the music and overall effectiveness of the songs. He seems to effortlessly transfer jazz and classical theory over to the pop/rock world. Nicole Obren has a fantastic command over her voice and uses it as an expressive instrument vital to the mood and essence of the album. She is also a highly talented, rhythmic lyricist.

It’s Better I Don’t Know is a creative and articulate album channelling the brilliance of Tool, Billie Eilish, INXS and Mac DeMarco all rolled into one. A stunning debut and introduction to a band who although only at the beginning of their career, are already showing world class skills and extraordinary creative vision.

• 1
  Anxiety Club
• 2
  Devilskin
• 3
  Coridian
• 4
  Take Hold
• 5
  Skinny Hobos
• 6
  L.A.B.
• 7
  Head Like A Hole
• 8
  Shihad
• 9
  Villainy
• 10
  Katchafire

• 
  When The Cats Away @ Michael Fowler Centre, Wellington - 21/04/2024
• 
  Luke Buda @ Whammy Bar, Auckland - 20/04/2024
• 
  Phoebe Rings @ Whammy Bar, Auckland - 20/04/2024
• 
  Geoff Ong @ Big Fan, Auckland - 19/04/2024

• 1
  TOO SWEET
  Hozier
• 2
  BEAUTIFUL THINGS
  Benson Boone
• 3
  LOSE CONTROL
  Teddy Swims
• 4
  I LIKE THE WAY YOU KISS ME
  Artemas
• 5
  SATURN
  SZA
• 6
  STICK SEASON
  Noah Kahan
• 7
  END OF BEGINNING
  Djo
• 8
  LIKE THAT
  Future And Metro Boomin feat. Kendrick Lamar
• 9
  ESPRESSO
  Sabrina Carpenter
• 10
  WE CAN'T BE FRIENDS (WAIT FOR YOUR LOVE)
  Ariana Grande

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