Words by Joshua Bowling (Dream Coast)

For their long-form debut, Haiku Hands produce a collection of bold and unruly dance-pop tracks that capture their wild live energy. Best experienced loud, it is hard to listen to Haiku Hands without picturing the thunderous bass of ‘Onset’ or driving beat of ‘Fashion Model Art’ wreaking havoc on a festival crowd. The trio deftly weave their energetic vocals around a number of genre-bent rave weapons while never sounding tired. 

The tight arrangements and club-ready yet radio-friendly production from a large range of collaborators ensures the album remains fresh and engaging. Jumping from the sub-heavy style of 2017’s ‘Not About You’ and appropriately titled ‘Eat this Bass’ to the summer ready vibes of ‘Sunride’ and ‘Jupiter' and back again, the versatility of the group is on full display. The standard of production is high, with SOFI TUKKER, Mad Zach, Machine Drum, Mirac, Elgusto of Hermitude and Lewis Cancut lending their hands to the record in a way that keeps the album sounding clean and current. However, that is not to say the features overpower Haiku Hands’ voices. The group thrives when the pace picks up and they begin to play off one another with snappy one-liners and call-and-response choruses.

Lyrically, Haiku Hands provide a commentary of topics in the current zeitgeist. Quick to insert witty punch-lines and buzzwords, the group revels in satire and sass. Seemingly taking notes from contemporaries Confidence Man, singles ‘Manbitch’ and ‘Fashion Model Art’ see the collective taking aim at modern social issues with a distinct Australian inflection and spoken-word style. Throughout the 12-track LP, Haiku Hands probe themes of relationship dynamics and technology with an attitude of empowerment and dark humour while managing to avoid the pitfalls of cynicism. 

The group let down their guard and allow the audience to breathe for ‘Car Crash’ and closer ‘Morning Becomes’. Revealing a more subdued and sincere side of the group, the former sees Haiku Hands deliver an emotionally raw guitar-driven roller that is sure to connect with their fanbase. Changing pace immediately, the quick vocal delivery and chanting on following track ‘Super Villain’ seems tailor-made to inspire audience participation on the Australian festival circuit. Pulling together multiple threads of the club scene, Haiku Hands is very danceable and will surely be soundtracking sweaty nights in crowded dance tents in the not-so-distant future.