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Bananagun

The True Story Of...

Full Time Hobby

Released: 23rd December 2020

LP£20.99Out of Stock
LP - super limited red / yellow splatter lp + bonus 7"£29.99Out of Stock


Hailing from Melbourne, but with a sound stretching from 60s and 70s afrobeat and exoticato Fela Kuti-esque repetition, the proto-garage rhythmic fury of The Monks and the groovesof Os Mutantes, there’s an enticing lost world exoticism to the music of Bananagun. It’s thesort of stuff that could’ve come from a dusty record crate of hidden gems; yet as thepunchy, colourfully vibrant pair of singles Do Yeah and Out of Reach have proven over thepast 12 months, the band are no revivalists. On debut album The True Story of Bananagun,they make a giant leap forward with their outward-looking blend of global tropicalia.The True Story of Bananagun marks Bananagun’s first full foray into writing andrecording as a complete band, having originally germinated in the bedroom ideas anddemos of guitarist, vocalist and flautist Nick van Bakel. The multi-instrumentalist grew up onskate videos, absorbing the hip-hop beats that soundtracked them -taking on touchstoneslike Self Core label founder Mr. Dibbs and other early 90’s turntablists. That love of thegroove underpins Bananagun - even if the rhythms now traverse far beyond those fledglinginfluences. "We didn't want to do what everyone else was doing,” the band’s founder says.“We wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature.
"Van Bakel was joined first by cousin Jimi Gregg on drums–the pair’s shared love of theJungle Book apparently made him a natural fit – and the rest of the group are friends firstand foremost, put together as a band because of a shared emphasis on keeping things fun.
Jack Crook (guitar/vocals), Charlotte Tobin (djembe/percussion) and Josh Dans(bass)complete the five-piece and between them there’s a freshness and playful spontaneityto The True Story of Bananagun, borne out of late night practice jams and hangs at producerJohn Lee’s Phaedra Studios.
“We were playing a lot leading up to recording so we’re all over it live”, van Bakel fondlyrecalls of the sessions that became more like a communal hang out, with Zoe Fox and MilesBedford there too to add extra vocals and saxophone. “It was a good time, meeting thereevery night, using proper gear [rather than my bedroom setups.] It felt like everyone had abit of a buzz going on."
Tracks like The Master and People Talk Too Much bounce around atop hybrid percussionthat fuses West African high life with Brazilian tropicalia; the likes of She Now hark toabmore westernised early rhythm ‘n’ blues beat, remoulded and refreshed in the group’sown inimitable summery style. Freak Machine is perhaps the closest to those early 90’sbeats, but even then the group add layers and layers of bright guitars, harmonic flower -popvocals and other sounds to transmute the source material to an entirely new plain.
Elsewherethere’s a 90 second track called Bird Up! that cut and pastes kookaburra and parrot calls as homage to the wildlife surrounding van Bakel’s home 80 kilometres from Melbourne.Oh, and there are hooks galore too–try and stop yourself from humming along to Out ofReach’s swooping vocal melody.