I’ve had this on repeat while working on a new batch of paintings – which is unusual as I seldom listen to anything twice in row, let alone endlessly on consecutive days.
It’s an interesting departure from his first album (see TOP TEN of 2010 below), which had an unusual signature sound employing a radical compression technique that created disorienting throbbing pulses. Submerged in the bad transistor radio reception and scratchy, warped vinyl grooves were catchy songs with stacks of Beach Boy-esque vocal harmonies. Pop meets club meets avant garde.
On his second album, the artist dumps the extreme processing and what might be considered studio gimmicks, to bring the songs and vocals front and centre. His obvious love of psychedelia is apparent and brings an understanding to his work. Suddenly his earlier work makes more sense if seen in this Acid Rock black light. There are moments in the production that are still quite unorthodox and relate more to DJing than singer/songwriter traditions, but it seems like Chaz Bundick, the 25 year old American musician responsible for all of the sounds on this album, is intent on not repeating a formula.
I’m really curious where he will go next.