Bodysync, the project of electronic producers Ryan Hemsworth and Charlie Yin (aka Giraffage), are radio DJs without a frequency. They mix and mesh music and samples with a childish glee, like they’ve been let loose in a studio and are pressing all the buttons they can. On the 15 second “Intro” to their new album NUTTY, a car skids, an elephant trumpets, and flashes of songs and radio chatter zoom by like someone flicking through TV channels at speed. Welcome to the Bodysync station, where a good time is encouraged, no matter who you are or where you’re from.
Like the zany album cover art (taken from the video for “Rock It”), everyone’s invited to the party, be they American flag bikini-clad babe, steampunk magician, stoic bouncer, or an overgrown vape kid. There’s a little something for everyone on NUTTY, from the sugary bounce of “What Us Worry” to the Europop pianos of “Bailer (I Want To Dance)” to the rave whistles of “Babies”. Taking influence from 90s rave music and Y2K pop, NUTTY is a throwback to its creators’ youths; they cite Venga Boys, Daft Punk, and Mad Magazine as influences here, which aren’t so much worn on their sleeve as they are blasted in your face. It’s not quite in league with The Avalanches or as obviously tongue in cheek as Neil Cicierega’s work, but it captures something of the same spirit, taking snippets and samples and making new forms for fun and fun alone.
At its most infectious (and it’s pretty damn infectious when it is), it works well for that candy-like hit of joy. Hemsworth and Yin have a knack for producing an earworm and rhythms that don’t fuss around with being too complicated, the kind that are like breakfast radio to perk you up and start your day with a pep in your step. “I Want It To Be Real” is all bright colours, “How To Be A Cowboy” is kitschy (complete with Morricone samples), and “Babies” takes goofy stoner thoughts and pairs it with a rejigged pop chorus. They may be full of E Numbers, but in the relatively small doses they are presented in, they can be as invigorating as the scent of fresh mint shower gel first thing in the morning, or the smack of chili in a fresh taco.
The downside is that despite the album’s short half hour runtime, it runs out of steam quickly. Side B veers more towards the material of their 2022 debut Radio Active, the tracks relying less on cartoonish electronics, itchy button pressing, and gimmicky samples. “Change Of Heart” has pretty pastel synths and familiar bobbing bass, but it feels like a template waiting for something magic to appear on top. Meanwhile “Bailer (I Want To Dance)” has a euphoric energy to it, but thanks to Daniela Andrade’s airy vocals it comes off like a song for the comedown. Final track “Worldwide” is the party after it has died down then, and as enjoyable as the wobbling synths and breakbeats are, it’s something of a wet blanket of a closing number; NUTTY might bring the party, but it doesn’t know how to end it.
Still, the good intentions and playful spirit are hard not to smile at. The faux phone-ins from listeners peppered here and there add to the local radio station vibe, and the spoken word snippets occasionally make the album sound like a Vine compilation is playing in the background. See that mammoth hunk of orange American cheese on the cover though? The music on NUTTY is akin to that: artificial as hell but in the right content and in small doses, it’s just the right thing for the job. Frequency ownership be damned, Bodysync will play on regardless for the short time they have your attention.
