Naarm/Melbourne-based Ungus Ungus Ungus immerse on their seventh album The Fun House, a stylistic voyage through realms of theatrical folk and psychedelic experimentation into club-ready rhythms and serene electronic passages. A band whose members are spread across three Australian states, Ungus Ungus Ungus thematically trace life’s highs and lows through a constantly shifting musical lens.
A vintage-sounding charm emanates on opening track “Funlerable,” where murky carnival organs evolve quickly into brassy exuberance and bouncy bass allure. A return to delectably eerie carnival-esque intrigue ensues as a solemn delivery asks, “have you ever had fun?” with a multi-layered response replying “I have, I have.” The shifts between happiness and sadness are lyrically confronted, while the production ebbs and flows aptly between subdued, flickering organs and more jubilant brassy expression. A glistening arpeggio follows as the lyrics ponder if one’s life is passing them by, introspective in embracing the joy when it’s here. Listeners enter The Fun House in thrilling form with “Funlerable.”
Ensuing track “Poltergeist” struts a piano-led theatricality, fondly reminiscent of black midi in its stylish cabaret-inspired instrumentation and evolving theatrical charisma. “Now I’m left with just my cries,” the resonant delivery drives into a frolicking hook. “You haunt me like you’re already dead,” harmonious layers envelop there, where trickling keys flow into brisk rhythms and pounding percussion. “Dr Quiet” then shifts into a more contemplative territory, with a lyrical beckoning to “step into the light” followed by an array of spacey synth effects, with dub and prog-rock elements shining into a blissful second half where gorgeous brass tones combine with sporadic melodic emergences for a Madness-resembling appeal.
The epic “Wishes Three” arrives next, serving up nearly 9 minutes of eclectic moods and structural surprises. The funk-friendly production channels a balmy enjoyment initially, with intersecting brass and keys lending a dose of ’70s nostalgia, while a soulful vocal soaring lingers in the background before assuming upfront confidence. “It’s all the same, wishes three,” the performance ascends during a riveting sequence, expanding to a warbly psychedelic tone around the midpoint before moving into a tour-de-force of a finale where spacey synth tones expand into a vigorous rhythm section and free-flowing brass energy. It’s a fantastic overall display of the band’s musicianship and knack for satiating structural evolution.
Another highlight, “Sauna Swing” struts an electro swing entrancement, moving from Supertramp-like keys and serene brass to a vibrant sense of infectiousness, with scat singing, fuzzy synths, and rhythmic colorfulness leading the effervescent path. Meanwhile, “Move” pairs call-to-action chants — “got to do it!” — featuring FemCee. A drum-and-bass production savvy pairs with playful stylistic flair, resembling a cross of Gorillaz, Of Montreal, and The Avalanches. Album finale “Beginnings” then concludes it all with a satisfying, releasing impact, playing as an ambient instrumental track that’s luminous and caressing in its shimmering synth pads and lounge-set keys. The Fun House is an eclectic, consistently melodic success of an album from Ungus Ungus Ungus.
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