Zucchini Drive’s Marcus Graap and Tom De Geeter have a knack for cooking up surprising music from unlikely ingredients. From the onset of their collaboration in 2002, the pair tackled the challenge of melding the lo-fi acoustic sounds of De Geeter’s primary project, Cavemen Speak and the buoyant electronic landscapes of Graap’s Stacs of Stamina. Perhaps the group’s energy was evoked by this sonic dichotomy, or perhaps by the sheer distance between the two, (Swedish Graap and Belgian De Geeter did much of their work remotely, meeting sporadically in London, Paris, Brussels and in between). No matter the cause, Zucchini Drive emerged as an project of which change seemed be the only constant.
Their first official EP, ‘Easy Tiger’ was soon followed by ‘Being Kurtwood’, which featured Markus Acher (The Notwist), Alias, Lord Grunge (Grand Buffet), Bleubird, B. Fleishmann, Styrofoam and remixes by Hitch and France’s techtonic dance pioneer Tepr. This record sold over 3500 copies worldwide, and was supported by a tour in Europe, the US, and two tours in Japan. Zucchini Drive’s third release ‘Goodyear Television Playhouse’ was produced by KaeoFLUX but also partly by Radical Face and Nomad. Although Graap and Speed Dial feel this is one of their strongest works to date, the album slipped through the cracks in a label shuffle, and never quite permeated as many ears as they had hoped.
Graap and De Geeter kept their album ‘Howler’ a more sacred space and took it upon themselves to do all of the writing and production.
Working in remote locations in London and Belgium, Zucchini Drive’s project ‘No Food and Lots of Weapons’ was completely self-produced, and the album represented the duo’s take on a 2012 world.
‘Charlotte’s Basement’ totally fits in with the other albums when it comes to change, innovation and new influences. This album is the big brother of the family with a more open, atmospheric character. The tempo of the vocal parts brought to a lower level, while melody and beats sound edgier than ever.
Spherical intro’s bring you to an electronical climax, one more explicit than the other. For this album they joined forces with Mike Ladd, Gwenaëlle and Nomad for vocal parts and got creative assistence of Pieter Blancke, Mich Decruynaere and Levy Seynaeve for the instrumentals.