Eucalyption are clearly doing their own thing right now and this EP makes for a bold and memorable introduction to their approach to music. No Better kicks things off and seems to fuse reggae and electronic rock among an often heavily atmospheric ambiance – all the while pouring ideas and reflections on life into the process by means of a simple yet fairly quick and rhythmic vocal melody. I heard a hint of Twenty One Pilots during the latter half; the intensity rises and the self-awareness increases and intrigues. There’s an underlying concept of equality that adds a lot of value to the overall effect.
Where’s the Love? follows a similar instrumental pathway, the mood is a little darker though, and the verses are more spacious so the vocal style and level of character stands a little taller. Once again, the concept deals with the world and its people in a vast and vague way – the ideas are accessible, not overly personal but something many people can easily get on board with. This progresses into something a little more intimate later on, letting you get closer to the band in order to build that necessary connection.
Start Living has an immediately vintage reggae sound and seems gentler, more minimalist perhaps. The questioning nature of the lyrics adds further to that classic feel, and all in all the song celebrates life and encapsulates the energy and sentiments of the entire EP in an easy to embrace manner.
Things change direction quite distinctively for Messed up People. Retro electronic synths line the outer edges, and lyrically the band drive with the personal touch and that honest, individual perspective. There’s still plenty of room for interpretation and accessibility, but there’s unique openness in many of the lines. Here and indeed throughout the project the two voices bounce off of one another well – perhaps here the most effectively. The contrast creates a dynamic that keeps things interesting and always moving forwards. This song is perhaps a creative highlight – it shines brightly as its own thing, not holding close to any particular genre, feeling a little Owl City-like in its electronic ambiance and the distant, retro sound of the vocals. The band also utilise instrumental expression during the latter half, showcasing a wandering soundscape that takes the reigns and delivers something multi-layered and endlessly colourful.
At the final hurdle, I’d Rather Be Dancing breaks things down to the raw and acoustic. Driven by a simple ukulele part and a notably up front and almost whispered leading voice, the song offers a revealing moment of vulnerability and realness that’s well received as the final track on the project. You’re reminded of the artists behind the art, and the lyrics are easy to appreciate as the presentation is so genuine and natural. During the latter half, the vocal delivery evolves to be quite stunning. There’s a grunge-rock edge to much of it, always soulful yet gritty and emotional enough to have that alternative edge and to keep you captivated until the very end. A great way to go out and an impressively interesting EP from a band who make their own rules.