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Seekae seems to lean towards a rule of thirds. The Australian trio is back after three years with their third album, The Worry. After gaining local attention with their debut The Sound of Trees Falling on People in 2008, and onto international acclaim with their sophomore effort +Dome in 2011, fans are probably eager to see what the band has come up with a third time around. Known for their ambient electronic beats, Seekae has added another element to their music: vocals from percussionist Alex Cameron.

The band eases us into the idea of it having a vocalist. Opening track 'Back Out' has a slow, rolling beat, but the only voices heard are a sample of some guys bantering at the beginning. It's only on the second track 'Another' that Cameron's voice is introduced. The vocals are sweet and clear, dripping with reverb as light synths ooze in the background. The beat stomps in, adding layer after layer to the track, although it maintains a sense of simplicity. The vocals are hardly overpowering, they seem to act as another instrument. Still, one can clearly hear powerful musings on the dark side of love. On 'Hands' we hear contradicting phrases like 'ball and chain' and 'my hands are cold, they need some blood to hold.'

The melancholic theme combined with post-dubstep electronics creates an awkward, unsettling tone. The vocals are often droning, as on album single 'Test and Recognise,' which when combined with frantic '90s industrial beats create a creepy anxiety. The lack of warmth can be quite unnerving to the listener, but perhaps that's what Seekae is going for. Surely an album titled The Worry isn't meant to make listeners feel comfortable. The title track, also the longest on the album, is bouncier with dark, '80s-style synths. Halfway through the album, it's less minimal than the previous tracks, but noticeably more interesting. On 'Further,' the band mixes warm and cool elements by offsetting glitchy bleeps with smooth saxophone and fluttering flute. Warmer moments like these are when the trio shines, such as on the softer, seductive 'Monster.'

By album closer 'Tais', however, I'm left feeling a bit confused and disappointed; too much is going on in the track, the beats--and sudden addition of strings--churn around dull, robotic vocals. But it's not just that particular song, it's as if I was waiting for a climax or peak throughout the record--something to stop me in my tracks or cause me to hit the repeat button--but it never quite got there. Despite the vocals adding a direct storyline to the album that allows the band to communicate in a way it hasn't been able to before, I can't help but feel that Seekae's previous sound had more emotional depth to it. Before, the band had to flesh out its message instrumentally. Now the music seems to get lost around the lyrics and lose something in the process.

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