“Atmospheric, beautiful and original… Their layering of sound on this album is like painting”
Lewis Williams (Rolling Stone)
How does a two-piece outfit get to sound so big, brooding and explosive as FABELS do on their debut album “Zimmer” ?
It would be easy to misdiagnose this release and overlook it as an “Art-rock adventure” heavily reliant on studio production. But when the two members in question boast the experience and skills of Ben Aylward (founding member of Sydney’s seminal 90’s sonic-dream-pop outfit Swirl) and Hiske Weijers (accomplished Dutch visual artist and musician in her own right) this “studio adventure” claim is obviously a mistake.
The FABELS reality is far more intriguing… a two-piece sonic attack that unashamedly meshes art, guitars, emotion, technology, sound and music with visceral live performance firmly at the core of operations.
Highly original and sonically challenging to describe, FABELS main stock in trade could be painted as intense guitar-loop based atmosheric electro-psyche-pop. But beneath the haunting vocals, the sonic squalls, the thoughtful vignettes and at times evocative refrains, lurks an authentic old-school punk ethos. Not the clichéd mass-marketed music of recent times, but an artful individuality and innovation that lies at the heart of the true ethic.
FABELS have been steadily clocking up the road miles playing an incredible diversity of shows, stamping their individuality on psyched-out, experimental music globally. FABELS have played venues in Germany Sweden and Australia, art galleries in Milan, former Soviet spy bases in East Berlin and dope cafes in Amsterdam.
”Fabels sound like no one else… music that is completely unique… they create their very own – and rather strange – musical world.” (Hinterlandt)
"The very first track off their debut full-length, Zimmer, which is a simple, looped drone, comes off sounding like, well, post-rock, actually. It’s the Dutch vocals, courtesy of Weijers. Turns out that made-up language Sigur Rós get about with sounds quite a lot like Dutch, at least to some ignorant Australian. Throw it above that melodious but roaringly distorted guitar loop and it’s a post-rock anthem, for such a harshly sibilant language, it makes quite beautiful music.
With the recent evidence of Underground Lovers in strong support, Australian shoegaze and dreampop artists should all, it seems, be making a bid for renewed public affection. Fabels is another strong example of the many good things that result."
- Chris Cobcroft.(4ZZZ Radio)
“ Not sure how I could even classify this. You know what? I'm not even going to try. I'll just say that it's seismic in sound and ambition, melding huge riffs with razor'd electronics. And it's extremely impressive" Dave Ruby Howe (triple j)
" Zimmer is an amalgamation of wonderfully odd sounds swirling together to create fluidly dynamic pieces of music,There’s nothing simple about this formula, and there’s nothing small about this Sydney two-piece; Zimmer blends dream pop, post-rock, shoegaze and krautrock in one incredibly surreal package.
The androgynous vocals of Hiske Weijers sound eerily similar to that of Sigur Rós’ frontman Jónsi Birgisson. Coincidentally enough, the Dutch lyrics sung in the album’s opening track Nek are very near mistakable for Volenskia (otherwise known as Hopelandic; the non-linear language used in Sigur Rós’ music). It isn’t until somewhere around the two-minute mark that Fabels stop sounding like Sigur Rós and start to sound like Fabels – with their uniquely integrated looping and fractured sounds piecing together something that is distinctly theirs.
There is a distinct underlying strength throughout Zimmer,and Fabels have created something beautifully otherworldly.
Justine Keating (TheMusic.com.au
“.. balance and collaboration … a feeling whisper and rasp that focuses the music, along with the grasp of technology that gives the music a sharp edge. There is a tension through this that makes it really interesting" Ross Clelland (Drum Media)
“Fabels set tonight was beautiful and very moving, I was taken away to another place and I can’t wait to go back” (Beat Magazine)