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Kingdom Technology (Tunabunny) | 3.5/5

SINGAPORE — Sometimes you seriously wonder if bands like Tunabunny’s anarchic music agenda is meant to subvert the modern concept of pop — or salvage it? If anyone listening to modern pop today can appreciate the avant-garde sensibilities of bands like Velvet Underground, Can and Suicide, as well as understand their significance, then perhaps the likes of Tunabunny might stand a chance of succeeding. This lo-fi document of a fourth album takes every idea of pop being mellifluous and appealing and crushes it under the weight of spontaneously combustible Dada-esque deconstruction. Every track is a challenge of patience and the powers of analysis of a short attention spanned generation with songs like Airless Spaces, Good God Awful, Bag Of Bones and Empire pushing the envelope as far as it will go. It’s ambitious, but somehow, it also comes across as a little too self-indulgent for its own good.

SINGAPORE — Sometimes you seriously wonder if bands like Tunabunny’s anarchic music agenda is meant to subvert the modern concept of pop — or salvage it? If anyone listening to modern pop today can appreciate the avant-garde sensibilities of bands like Velvet Underground, Can and Suicide, as well as understand their significance, then perhaps the likes of Tunabunny might stand a chance of succeeding. This lo-fi document of a fourth album takes every idea of pop being mellifluous and appealing and crushes it under the weight of spontaneously combustible Dada-esque deconstruction. Every track is a challenge of patience and the powers of analysis of a short attention spanned generation with songs like Airless Spaces, Good God Awful, Bag Of Bones and Empire pushing the envelope as far as it will go. It’s ambitious, but somehow, it also comes across as a little too self-indulgent for its own good.

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