Sampling wizards The Avalanches mine magic from old ads and obsolete tech

Emerging from a legacy of innovative sample-based music, Australian group The Avalanches have unveiled their latest album, No Bad Memories, a project that delves deeply into the evocative power of sounds from bygone eras. Building on their reputation for weaving obscure audio snippets into rich sonic tapestries, this release centers on the emotional resonance of outdated technology noises and vintage advertising jingles.

Founded by Robbie Chater and Tony Di Blasi, now joined by Andy Szekeres, The Avalanches have long been pioneers in the art of sample collage, beginning with their 2000 debut Since I Left You, celebrated for its intricate blend of thousands of analog samples. Over the years, the group evolved through lineup changes and expansive creative ambitions, producing albums like Wildflower in 2016 and the cosmic-themed We Will Always Love You in 2020.

No Bad Memories continues this trajectory but with a distinctive focus on the nostalgic pull of commercial and technological relics from past decades. The album’s title itself originates from a 1980s advertisement promoting floppy disk storage, a nod to a technology unfamiliar to many younger listeners. This choice encapsulates the record’s thematic exploration of how consumer culture imprints emotional associations onto otherwise mundane products.

Spanning 31 tracks, the album incorporates an eclectic mix of collaborators, including returning artists such as Jamie xx, Karen O, and Rivers Cuomo, alongside fresh contributors like Barry Can't Swim, Khadija Al Hanafi from Tunisia, and Japanese electronic pioneers Haruomi Hosono and Ryoji Ikeda. The Avalanches’ approach embraces both the joyful and melancholic aspects of nostalgia, blending funk, soul, and psychedelic textures with experimental sound collages.

A standout example is the lead single Together, which entwines electronic voices Nikki Nair, Jessy Lanza, and viral musician Prentiss with a children’s choir sampled from a 1970s television adaptation of Enid Blyton’s The Famous Five. The track is layered with authentic sounds from obsolete hardware—mouse clicks, data loading sequences, and camera shutters—creating a playful yet immersive experience that references the audible environment of previous technological generations.

The creative process shifted significantly for this album, with the band relying heavily on digital archives like YouTube to discover and sample forgotten jingles and sounds, moving beyond their traditional vinyl crate digging. This archival work fueled a conceptual expansion that included collaborations with visual artist Jonathan Zawada, resulting in the fictional Takumi Digital Archives brand. This imaginary company, complete with product prototypes and marketing videos featuring actor Haley Joel Osment, served as a multidimensional platform to extend the album’s nostalgic themes into the visual and promotional spheres.

Influences on the album’s sonic palette include electronic music trailblazer Suzanne Ciani, known for her pioneering work with modular synthesizers and iconic brand jingles in the 1970s. Ciani’s presence on the track Our Love Is Alive highlights The Avalanches’ admiration for her groundbreaking contributions to sound branding. Additionally, Mike Patton, famed for his vocal work with Faith No More and Mr Bungle, provides narration for commercial-style ads within the album, parodying the competitive atmosphere of 1990s video game console battles.

The meticulous nature of The Avalanches’ production is evident throughout No Bad Memories, reflecting a painstaking commitment to detail that has extended the album’s development time. Initially intended as a swift, lighthearted follow-up to previous efforts, the project evolved into a complex, layered work that balances cerebral experimentation with accessible, danceable moments. The contrasting creative energies within the band, particularly the balance between Chater’s perfectionism and Di Blasi’s desire for simplicity and enjoyment, have shaped the album’s dynamic character.

Ultimately, No Bad Memories presents a nuanced commentary on the intersection of nostalgia, consumerism, and technological obsolescence. It critiques how capitalist messaging embeds itself into cultural memory while simultaneously celebrating the beauty and emotional impact of advertising aesthetics and vintage soundscapes. By recontextualizing these elements, The Avalanches invite listeners to reconsider their relationship with memory, media, and the pervasive influence of late-stage capitalism.

The album is set for release on October 16, with a supporting Australian tour commencing in Perth on February 27. No Bad Memories affirms The Avalanches’ status as innovators who continue to redefine the possibilities of musical collage by bridging the past and present in inventive and emotionally resonant ways.