B-Side Guys

Garagee’s third self-titled album, released on August 15, 2024, is a 36-minute sonic odyssey that defies easy categorization. This nine-track collection showcases Rob McPherson’s evolution as a composer and producer, blending his signature instrumental prowess with vocal collaborations for the first time in the Garagee project.

The album opens with “Tennaaa,” a familiar instrumental that serves as a bridge between Garagee’s past work and this new chapter. McPherson’s delayed guitar motifs weave through saturated drums, creating a soundscape that’s both serene and chaotic. It’s a fitting introduction to an album that consistently challenges listeners’ expectations.

“Blood” marks the first vocal collaboration on the album, featuring The Church’s Steve Kilbey. The track’s fairytale-like acoustic guitar opening gives way to a darker, more brooding atmosphere as Kilbey’s evocative vocals enter. The juxtaposition of McPherson’s ethereal instrumentation with Kilbey’s grounded performance creates a tension that perfectly captures the song’s grim twist on magical themes.

“Driver” shifts gears dramatically, embracing a retro-futuristic vibe. The almost percussive guitar work and space-age synths create a backdrop that feels like cruising down an endless highway at midnight. The addition of airy vocals adds to the dream-like quality of the track, making it a standout on the album.

“Rocks of King” is perhaps the most ambitious track on “Garagee III.” Beginning with bird sounds, the song takes listeners on a journey through a full day, its structure mirroring a circadian rhythm. The gradual build from soft, ambient tones to primal, drum-driven intensity before settling back into a sleepy conclusion demonstrates McPherson’s skill in crafting narrative through sound alone.

“Fare Well” serves as an emotional centerpiece for the album. McPherson’s guitar work, layered with radio static and water-drop chimes, creates a haunting tribute to lost loved ones. It’s a moment of raw vulnerability that stands out amidst the album’s more experimental tracks.

Jane McArthur’s collaboration on “Firewall” brings a new dimension to Garagee’s sound. Her liquid-smooth vocals complement McPherson’s signature guitar riffs perfectly. The clever use of 90’s modem sounds as percussive elements adds a layer of nostalgic texture to the track, while also cleverly playing on the song’s title.

“Not Our Nature” is where “Garagee III” pushes furthest into experimental territory. Pink Tights’ layered, sci-fi vocals float atop McPherson’s psychedelic guitar and drum work, creating a soundscape that’s equal parts claustrophobic and intimate. It’s a bold artistic statement that showcases Garagee’s willingness to take risks.

“Limbosis” blends spoken word with contrasting guitar styles to create a cinematic experience. Lindsay Phillips’ narration evokes classic science fiction, adding a storytelling element that enriches the album’s overall narrative arc.

The album closes with “Nothing to See Here…and Everything,” a gentle, nature-infused track that feels like a moment of respite. The inclusion of bird sounds and bees alongside McPherson’s free-flowing acoustic guitar creates an atmosphere of peaceful contemplation, bringing the album’s journey to a satisfying conclusion.

Throughout “Garagee III,” McPherson’s production shines. Each track feels meticulously crafted, with a warm, articulate sound that allows every element to be heard clearly. The diverse instrumentation, including world instruments like ruan, liuqin, and erhu, adds depth and character to each song without ever feeling gimmicky.

What sets “Garagee III” apart is its seamless blend of organic and electronic elements. McPherson’s guitar work serves as the backbone of the album, but it’s the integration of field recordings, synths, and unconventional percussion that creates its unique sonic palette. The result is an album that feels both timeless and thoroughly modern.

The decision to include vocal collaborations for the first time in a Garagee album pays off handsomely. Each guest vocalist brings their own character to their respective tracks, adding new dimensions to McPherson’s compositions without overshadowing the instrumental core of Garagee’s sound.

At 36 minutes, “Garagee III” is a concise yet richly packed album. Each track feels essential, contributing to the overall narrative without overstaying its welcome. The sequencing of the tracks creates a natural flow, taking listeners on a journey through different moods and sonic landscapes.

“Garagee III” stands as a testament to Rob McPherson’s growth as an artist. It builds on the foundations laid by his previous work while pushing into new territories, both sonically and collaboratively. The result is an album that feels both familiar and fresh, rewarding long-time Garagee fans while offering plenty to intrigue new listeners.

For those who appreciate the work of artists like Brian Eno, Grails, or Bonobo, “Garagee III” offers a unique take on instrumental and collaborative music. It’s an album that invites repeated listens, each spin revealing new layers of detail and emotion. With this release, Garagee cements his place as a distinctive voice in the world of eclectic, genre-defying music.