Last summer when electric-house gem Totally Enormous Extinct Dinosaur burst onto the scene with his stunning single “Garden,” the electronic world was taken back by the unsettling spunky nature of the Oxford native and his eccentric personality.
It was something new, something most had not let their ears grow accustom-to, but soon enough the funky dance singles of T.E.E.D were hitting radio-waves all across Britain. And, while most of us had grown to embrace the eclectic pop-power of splashing beats and the hazy “one-two punch” choruses of tracks like “Household Goods,” not everyone could be swayed.
Despite this, T.E.E.D began to take waves on renowned radio shows like those of Zane Lowe and Nick Grimshaw dawning an oddly paired “onesie” that naturally fit to his name—a dinosaur. By this point no one was able to push aside the ominous prehistorical creature and soon enough the rest of the world caught on to the surprising addictiveness of Orlando Higginbottom and really just wanted to get up and start dancing.
Well most of us spent their time wondering how Totally Enormous Extinct Dinosaur hadn’t caught on earlier, there was already plenty of singles and remixes out that were still left to be caught-up on, and most of which have made-it to his debut album Trouble.
What starts off on the tropical sounding track “Promises” soon progresses into a spectacle of funkiness and a spike of deserted horns around 2:35 into “Trouble”. This encompassing mix of signature beats however, can at some points become “old”. Directionally Trouble knows where it’s heading but turn tracks like “Your Love,” you get the feeling Mr. Higginbottom has a more progressive-house sound that is waiting to burst out.
This verging line between the combating disco-house and progressive-house on this album does however work towards T.E.E.D’s favour by covering up more drab singles like “Pan Pipes” and “Fair” with wonking beats and crystal-clear high-hats. In-keeping to this faster and more intoxicating pace, in-turn really keeps the album moving forward and able to keep listener attention through all 14 tracks. And, while this length of time may sway many, the few that stick around to listen to the very sonically moving tracks such as “Tapes & Money” are in for a treat!
Putting aside the few very flat at parts of Trouble, you start to see that the album manages to stay completely well-intwined between almost all tracks, and because of it, the beginning sense of “forced” feeling soon shy’s away and heavy-rotation is not far away.
At first sight, Trouble appears to be a heavily focused electronic album with very few followers to back it up, but after listening you get a strange sense that it’s not only an album for electro-heads, but oddly enough indie listeners as well. Between the progression of slower paced to more intoxicating singles, Trouble portrays the recipe of perfectly knit rock-record that indie listeners will love. And, while it’s not often that big listeners of indie music take a kind liking to electronica, if there’s any man to start doing it, T.E.E.D would be the man.