When Sleep Party People take to the stage as a quintet of bunny-heads in hoodies they resemble the house-band at the Mad Hatter’s tea party with the added menace of the revolutionary hordes in V for Vendetta. This mixture of creative frivolity beset by dystopia is mirrored by the intense, comforting, electro, dream pop they create.
In reality though Sleep Party People are not a five-piece bunny synth act; they aren’t even a they, they are a singularity, a one man band. Sleep Party People is the moniker of Danish composer Brian Batz and ‘Floating’ is the Københavner’s third album and follow up to 2012’s critically acclaimed ‘We Were Drifting On A Sad Song’.
On ‘Floating’ Batz mixes elements of post rock, electronica, and shoegaze with the influence of such varied acts as Sigur Ros, My Bloody Valentine, Brian Eno and New Order apparent without sounding disparate or disjointed despite the eclectic nature of the album’s nine tracks. The result is an eerie collection of otherworldly songs with a deathly dystopian edge and the further Batz delves into the unusual the better the results are.
Change In Time has a Lo-Fi indie rock vibe with warbling guitar-lines until Brian Batz’ ethereal voice enters the fray creating an instantaneous shoegaze vibe. But the familiar dream pop safety-blanket is soon torn apart by the sudden arrival of throaty synth and a hail of effects. The aforementioned feeling of darkness below permeates Floating Blood Of Mine a track which sounds as if Peter Hook is making a guest appearance on a Sigur Ros track.
In Another World evokes Thom Yorke in full on dystopia mode with a hint of murder ballad for good measure. It’s claustrophobic and foreboding thanks to clever use of strings and piano runs, with Batz’ voice more deathly than ever.
Death In The Future and I See The Sun, Harold act as a mini instrumental intermission from proceedings halfway through the album, a mini Side B of ‘Low’ if you will, before I See The Moon featuring Lisa Light on guest vocals delivers an eight minute injection of infectious and repetitious nod along guitar which yields a stylistically unexpected highlight.
Scattered Glass closes out the album with the most accomplished slice of dream pop proper on the album and with that ‘Floating’ drifts away into dreamy Scandinavian ether. The fact that Batz played over 90% of the instrumentation himself and ‘Floating’ still maintains such atmosphere and never feels rigid is phenomenal.
Sleep Party People are a band that all dream pop fans should acquaint themselves with.