Sdban Ultra
Budding quartet LũpḁGangGang have established themselves as rising stars of Belgian’s jazz scene. The group’s jazz leanings have become looser throughout the last few years as they mix their undeniable groove and melodic textures with an experimental flair. Their debut album, Dopamine Overdose, sees them existing in the space between genres on an eclectic but engaging listen.
Comprising Anton Robberechts (vocals and guitar), Lena Thijs (bass and vocals), Miel De Koninck (keyboards), and Rob Swennen (drums), the group initially started as a jazz and funk cover band in 2017. But with influences as far ranging as Kamaal Williams and Joey Bada$$, the band’s sonic palette quickly expanded. Their debut EP, 2020’s Stalingrad, saw them drift from the hip-hop bounce of ‘Afar’ to the trippy psychedelic, Mario-Kart track theme sound of ‘A52’. 2022’s EP Urban Detox was similarly expansive, drifting between the serene and explosive.
Dopamine Overdose features similar changes in tempo and brief bombastic explosions. ‘Dada Data’ starts as some funky, languid lounge jazz before suddenly hurtling into a semi-form of hyper jazz with Robberechts rapping over the top. The standout ‘Candy’ trades genres like playing cards, featuring a catchy, punky chorus, Latin-influenced hooks, some jazzy keys, and a brilliant, almost psychedelic metal breakdown. The changes in tempo on ‘Metaphor’ are less obvious, but Robberechts intricate guitar work scrawls over its jazzy bass nicely.
Instrumentally the group are impressive, whether dovetailing between each other or standing solo. Robberechts squalling guitar provides an engaging element throughout, scratching its way for the jagged semi-disco stomp turned trippy psychedelia of ‘Elsewhere’. Lena’s bass lines are subtly hypnotic on ‘Metaphor’ and ‘Out The Light’, while De Koninck provides a nice solo on the former. Swennen brings an understated and unrelenting rhythm throughout, whether through the conga-like percussion of ‘Wanderer’ or the staccato-like ‘Time Faded’, while the bursts of his kick drum give ‘Intro’ new life.
Dopamine Overdose examines the detrimental effects of society’s reliance on social media and the anxiety created by our hyper-virtual world. ‘Dada Data’ is the most explicit in realising the album’s theme as Robberechts sings about “becoming the next tech pawn” and how he “can see the whole world scroll by”. ‘Elsewhere’ may be referencing the inhibiting nature of social media with the line: “Seems like you don’t really want progress”. ‘Candy’ seems like a more personal record, with Lena giving an excellent performance as she tackles toxicity: “Because you can only imagine doing things right in your way”.
Lena and Robberechts trade vocal duties throughout the album, engaging in neat interplay on ‘Out the Light’. As engaging as some of the instrumental tracks are, especially the frenetic closer ‘The Fountain & The Red Gimini’, it’s a shame we don’t get to hear more from the duo’s combined songwriting and vocal abilities. But Dopamine Overdose is a more than encouraging debut, with a fantastically varied palette that never feels forced and keeps things constantly interesting.