Bigger Fish Fryin’ causes ripples in Live PA pond

 By Brandon McNeil

It’s comforting to know that even though music’s popularity has shifted towards the digital-sound-layering-wave of electronic there are still artists out there involved with the genre that don’t rely on overdone dubstep remixes or bad club DJ mash-ups to make their bread and butter. Vancouver based Longwalkshortdock (LWSD), or Dave King, is one of those rare finds, and proves what it’s all about to be original on his sophomore release Bigger Fish Fryin’. The self proclaimed “deathno”-beat-guru brings forth a sound comparable to the mechanical grind of Aphex Twin or the retro eight-bit melodies of early 1980’s video games that have become a staple of the LWSD sound and live experience, which creates a sonic amalgamation of up-tempo fist pumpers and modern ballads with an avant-garde flair that take you on an

 The record kicks off with “I’ve Been So Burned Out” which stands out as one of the real highlights. The track begins with an ominous introduction before dropping one of the dirtiest bass lines of our era that sets the tone and ultimately pumps you up for the rest of the record. Using a combination of numerous keyboards, a plethora of sound alteration devices, his trusty Mac laptop and little flashing toys with lights and dials that most of us will never understand, the Live PA showman delivers a record with a sound that can only be compared to a horde of angry alien-robots dance-fighting. The higher energy tracks are King’s obvious strength and it continues to shine through on “Tough Call” and “Misbehavin.” These two tracks’ initial build ups and leads into the main beat are enough to get even a casual listener flailing hard enough to take out the nearest wall that dares to oppose them.

 King then changes the direction of the album by showcasing his talents at conjuring up sounds for the softer side in “You Berg,” “Find Me Where I’m Hiding (Raver’s Requiem)” and “We’ll See,” the latter being a great example of King’s trademark falsetto vocals that have become a staple of his sound. The songs are a bit of a shock to the system after spinning through the aforementioned surefire crowd pleasers, but if one were to find a negative aspect about this record, it would be that the slower, more experimental songs tend to get a bit drawn out and even tiring at times in comparison. Although Bigger Fish Fryin’ lacks the consistency of its predecessor Casual Tea (2009),  it speaks volumes about King’s progression as a musician and an artist, and, ultimately, it’s an offering that you’ll want to aquire this summer, as it will no doubt be providing the anthems to debaucherous nights of mayhem and star gazing sessions alike, and that’s the beauty of it.