Album Review: Flop by Heavy Larry – A Psychedelic Trip Down Under
Released in 2016, Flop by Australian artist Heavy Larry is one of those albums that sneaks up on you. Blending electronic beats with rock grit and a heavy dose of psychedelic flair, it’s not your typical record. Self-released under Not On Label (Heavy Larry Self-released), this genre-bending project feels raw, unfiltered, and refreshingly human. And yeah, it lives up to its name—Flop might sound messy at times, but it's the kind of mess you can't stop revisiting.
The album kicks off with "Flop," the title track, setting the tone right away. It’s got this hypnotic groove that pulls you in like quicksand. The mix of trippy synths and fuzzy guitar riffs makes it feel like you're floating through space while still being grounded by a steady beat. You know how some songs just stick? This one does because it doesn’t try too hard—it lets the weirdness shine without overthinking it.
Another standout is “Space Man Boogie.” Honestly, who wouldn’t want to boogie to something called that? With its driving bassline and cosmic vibes, it’s impossible not to move to. There’s this playful energy here, almost like Heavy Larry is daring you to take life less seriously. Plus, the track has these little quirky moments where things get delightfully chaotic—like when the melody shifts suddenly or the drums go wild for no reason. It’s unpredictable, sure, but isn’t that what makes it fun?
Tracks like “Alien Baby” and “Dog Park” add layers to the experience, each bringing their own flavor to the table. While “Alien Baby” leans into eerie atmospheres, “Dog Park” feels more upbeat, as if capturing the chaos of actual dogs running around. Then there’s “King Of The Beans,” which...well, let’s just say I didn’t expect to hear a song about beans on a psychedelic rock album, but hey, Australia keeps things interesting.
What stands out most about Flop is how unapologetically itself it is. Heavy Larry doesn’t seem worried about fitting into any box—he just throws everything he loves into the pot and stirs. Sometimes it works brilliantly; other times, it feels a bit scattered. But even the imperfections give the album charm. It’s like listening to someone’s diary entries set to music—personal, experimental, and occasionally hilarious.
If you’re looking for polished perfection, this ain’t it. But if you dig music that takes risks and feels alive, then Flop deserves a spot on your playlist. In a world full of formulaic releases, it reminds us that sometimes flopping is just another way of flying sideways.
Final thought: Who knew an album with a song about a silverback gorilla could make me question my entire existence?
