bdrmm’s latest album Microtonic is a leap forward for the Hull-based band. With a sound that seamlessly blends their established shoegaze roots with bold, exploratory elements of electronic music, this record stands as their most ambitious and expansive work to date. As Ryan Smith aptly states, “I think this is the best thing we've ever done,” and it’s hard to argue otherwise after hearing the ten tracks which make up the album.
Microtonic shows bdrmm moving beyond the confines of their previous genres, exploring a landscape of both new and familiar tones and atmospheres. From the get-go, it’s clear the band has broken free from the constraints that once defined their sound. Ryan explains how a newfound creative freedom emerged, largely fueled by his recent embrace of electronic music—drawing from influences as diverse as dance, ambient, and experimental electronica. That openness to new genre’s and sounds is present throughout the album.
While the band’s signature layered guitars and hypnotic rhythms still play a prominent role, they are now woven into a far richer, more varied composition. Take the track 'Infinity Peaking', for example. This is where bdrmm begin to display their full potential, as post-rock guitars merge effortlessly with serene, synth-laden grooves that wash over the listener in a gentle yet captivating manner. Its euphoric yet melancholic vibe matching the kind of musical moment that would soundtrack a dreamlike, late-night dancefloor. Ryan's story of writing the track in the warmth of Málaga adds a layer of context, with the heat of the Spanish city helping to shape a song that feels liberating and expansive.
The album’s willingness to embrace new collaborators is another striking feature of Microtonic. The inclusion of Working Men’s Club’s Syd Minsky-Sargeant and Nightbus’ Olivesque adds a fresh dynamic to the album’s sound, and perhaps nowhere is this more evident than on Goit, the record’s opener. With Minsky-Sargeant’s haunting vocals, the track dives into a darker, more experimental territory, with a number of dance rhythms. This track serves as an early indication of the album’s dystopian themes, which Ryan notes are rooted in the unease the band has felt since the lockdown period. It’s an unsettling yet compelling experience, encapsulating the anxiety and strangeness that spread through the modern world.
Perhaps most impressive about Microtonic is how it balances its bold experimentation with a deep sense of coherence. Despite its diverse influences, from shoegaze and post-rock to electronica and dance, the album remains unified. Every track feels part of a larger narrative, with the band’s collaborative approach to songwriting—focusing on cut-and-paste techniques rather than traditional jamming—allowing for more vulnerability and creative synergy between band members. The result is an album that breathes with life and energy, each track adding to a grander sense of self-discovery.
In many ways, the album is allegedly the sound of bdrmm becoming the band they’ve always wanted to be. Their ability to seamlessly combine the brooding atmosphere of their early days with the progressive, forward-thinking sound of their current era shows a group unafraid to take risks and explore uncharted territory. As Ryan notes, “This is a true expression of who we are,” and it’s hard to deny that this album captures the band in their purest form yet.
With Microtonic, bdrmm have not just delivered their strongest work to date—they’ve redefined their sound, offering up a daring and expansive record that pulses with life and freedom. Both fans of the band and newcomers alike will find much to be excited about here, as bdrmm boldly carve their own path.
Score: 8/10
Words: Emily Howarth
Photos: bdrmm
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