Review Summary: A dream pop nightmare
Republic of Paradise announces itself with a rendition of the title track labeled as a voice memo. Yet, the fact that it hardly sounds like the vague, low quality recording one would expect and more like a fully fleshed out vocal melody instantly showcases Aphir’s sheer creativity. The record that follows this brief introduction is an excellently experimental and abrasive foray into the realm of dream pop. Becki Whitton, the Australian mastermind behind Aphir, showcases her talents perfectly on the ‘real’ title track: hypnotising vocal patterns introduce ‘The Republic of Paradise’ in typically dreamy fashion, whereas the second half sees the song distorting itself into something much more endearing, employing elements of trip hop to elevate it to new heights.
In spite of the many featured artists, it is abundantly clear that Whitton is consistently in full control of the album’s scope. Not solely indicated by the liner notes of ‘all lyrics by / all tracks mixed and mastered by Becki Whitton’,
Republic of Paradise thrives off its highly focused nature. Moreover, these aforementioned features often manage to add a lot to the songs while remaining relatively unnoticeable and keeping the record on its steady track. Sandy Hsu’s guest vocals on the mesmerising ‘Give You One’ complement the distorted, industrial drum beats beautifully, playing off the instrumentation in a similar fashion to Whitton, while adding her own flair. Similarly, Sia Ahmed’s contributions orchestrate a uniquely eerie atmosphere on ‘The Harpies’. While the song has the potential to come off as annoying or a little too
out there, Aphir’s hyper self-awareness keeps the song at a minimal length, allowing the track to function as a fun, quirky interlude rather than the possibly overbearing cut it could have been.
Elsewhere, ‘I Might Be the Angel of Death’ makes for one of the album’s most intriguing tracks, combining Aphir’s trademark captivatingly repetitive vocals with odd electronic quips and the tasteful abrasive drums that show up throughout the record. Clocking in at a concise 31 minutes,
Republic of Paradise knows exactly what it wants and needs to be, and fully succeeds at being that. Leaving no space for filler, Aphir’s unrestrained creativity is on full display, making for an album that is as gripping as it is a pleasant, casual listen. ‘No Accident’ neatly wraps up the package, securing the record’s credibility by transforming delightfully atmospheric synths and heavenly vocals into an enthrallingly abrasive finale, pulling its final moments into what can only be described as a dream pop nightmare.
