In May 2020, Sad Man – the alias of Bournville’s Andrew Spackman – ran a Twitter poll to ask fans to suggest the name of his next album. The options were Sad Man 13, ISO-Nation, Wonky Heights and the winner, with a cool 50% of the vote – Daddy Biscuits. It arrived in my inbox, just three months after his last release, with the description that it was a ‘wonky banger’.
Spackman has done most of the legwork for me with that, to be honest, as those two words perfectly sum up the sound of the twelve songs on this new collection. These are pieces that jerk around like they’re being attacked with an electronic music cattle prod, all quirky beats, skewed melodies and sounds that feel like they’re splintering and fragmenting inside your ear canal.
The jazz influence that can be felt on other Sad Man releases is here suppressed ever so slightly, emerging in the background on pieces like ‘Fump’ or in the coda on the icicle-sharp ‘Illustration’; instead, the only way I can describe a track like the nine-minute title track, or ‘Wonder’, or the effervescent ‘So So’ is how I imagine it might sound in the nightclub of a ship that’s about to capsize in a storm. Or a ‘wonky banger’, I guess.
Buried deep here is the minuscule ‘Water’. It’s a track that seems to pack so many disparate ideas into its brief, sixty second existence, from muted house-style riffs, deep beats and a frantic jumble of melodies that sound like a stroll around a dimly-lit games arcade.
Daddy Biscuits by Sad Man is released June 5 2020.
Words: Mat Smith
(c) 2020 Further.