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Superorganism – Superorganism

Superorganism is one of those bands that kind of came out of nowhere. After dropping their first major single late last year, ‘Something For Your M.I.N.D.’, they were immediately hyped up by various music sites. I thought the song was creative and weird in all the right ways (as was the following single ‘Everybody Wants To Be Famous’), but was unsure as to whether Superorganism’s quirky style would work well on a full-length album. A few months later and here we are with the band’s self-titled debut.

Part of the charm of Superorganism is their strangeness. Their sound has a collage-like feel to it, drawing from a lot of different places… It features beach rock guitar licks, squelchy synths and a heavy abundance of sound effects. There’s also a certain laziness to it that reminds me of artists such as Mac Demarco, with lead vocalist Orono Noguchi sounding as though she’s singing while lying down in bed. Songs titles like ‘It’s All Good’ and ‘The Prawn Song’ convey Superorganism’s lazy/quirky aesthetic quite well. The band have definitely nailed a genuinely unique sound, though it does bounce between being charming and slightly grating.

The aforementioned ‘Something For Your M.I.N.D.’ is a definite highlight. It’s the best introduction to the band, featuring all the signature elements of their sound and using them better than any other track on Superorganism. There’s all kinds of weirdness going on in the song, like the random sound effects in the background and the pitch shifting vocals. ‘Everybody Wants To Be Famous’ is also a stand-out; it’s easily the poppiest moment on the album and features an incredibly catchy chorus (and verses, to honest.)

There are plenty of other solid tracks here as well, such as ‘SPRORGNSM’ and ‘The Prawn Song’. Both are pretty ridiculous (the first featuring a distorted voiceover and second, well, being about being a prawn) but suit the band’s vibe well. I’m also a fan of ‘Night Time’, which has a great glittery disco feel to it. Most of the tracks on Superorganism feel stuffed to the brim, but ‘Night Time’ has a lot of breathing room on it. It has a great atmosphere.

As I mentioned before, the band’s sound does get grating in places. Though the album only clocks in at about 30 minutes, Superorganism’s various quirks do begin to wear thin by its end. The band have a habit of recycling the same elements over and over, such as the voiceover (which appears on both ‘SPRORGNSM’ and ‘It’s All Good’) as well as the beach-y guitar sound. I did experience some deja vu a couple of times because of this; in particular, the guitar at the opening of ‘Nai’s March’ sounds identical to that on ‘Something For Your M.I.N.D.’.

Superorganism is a fun listen though and the band have done a good job of crafting a unique sound. While the album isn’t perfect, it’s a good starting place for the band and I’m looking forward to seeing where they go next.

Best Tracks: ‘Everybody Wants To Be Famous’, ‘Something For Your M.I.N.D.’, ‘Night Time’

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Car Seat Headrest – Twin Fantasy

It’s easy to see indie rock as a dying genre. Though last year saw new albums from some of the genre’s biggest names (Arcade Fire, Fleet Foxes, Phoenix, to name a few), most of them felt just okay. None of the albums felt as essential as any of the stuff the bands had come out with last decade when the genre was in its heyday.

Really, all the hope for indie rock lies in its newer names now, like The War On Drugs, Parquet Courts and – of course – Car Seat Headrest. I was a little bit late to the party when it came to the band’s last release, Teen Of Denial – their first ‘studio’ album – but it’s quickly become one of my favourite releases of the decade so far. The album had something that recent releases from older bands like Arcade Fire seemed to be missing – a certain level of musical and emotional depth. Songs like ‘Fill in the Blank’ and ‘Drunk Drivers/Killer Whales’ had an old-school indie rock feel to them but still managed to feel fresh at the same time.

Twin Fantasy, Car Seat Headrest’s latest release, isn’t technically a new album, but a reimagining of frontman Will Toledo’s most famous Bandcamp release from the band’s pre-Matador days. It might as well be a new release though, because the album still feels incredibly fresh and incredibly ambitious. Twin Fantasy is a concept album focusing on a teen romance of Toledo’s (it’s still hard to believe that he first wrote these songs in his teenage years), telling a pretty cohesive story over its ten songs. While Teens Of Denial got personal at times, this release definitely feels a lot rawer emotionally.

Just look at the album’s lead single, ‘Beach Life-In-Death’. It’s a monster of a track, clocking in at just over thirteen minutes and featuring three distinct sections. It’s pretty emotionally loaded, dealing with everything from Toledo’s depression to him coming out to his friends over Skype. It’s also a fantastic song musically, shifting and changing constantly without it ever feeling forced. The album’s other huge track, ‘Prophets (Stars)’, which is another three minutes longer than ‘Beach Life-In-Death’,  acts as the album’s huge climax. It’s a slower song, more drawn out, but arguably just as powerful.

With such long songs, Twin Fantasy can seem like a daunting album to jump into, but it also features its fair share of moments that are a little less intense. ‘Sober to Death’ is a gorgeous ballad about depression and features some of Toledo’s sweetest lyrics, while ‘Nervous Young Inhumans’ is probably the album’s most radio-friendly moment. ‘Bodys’ and ‘Cute Thing’ are similarly fantastic – it’s hard not to love the latter track’s roaring chorus – each featuring Toledo’s usual blend of clever lyrics and interesting instrumental choices. There’s a huge amount to love here.

Impressively for an album of this length, every track here feels essential (except maybe ‘Stop Smoking (We Love You)’, but it’s not even two minutes long). It’s an incredibly cohesive release, perhaps even more so than Teens Of Denial.

While it would’ve been nice to receive a completely new album from the band, I’m guessing most people haven’t dug into the Toledo’s Bandcamp back catalogue – essentially making all these songs fresh. Twin Fantasy shows that there’s still plenty of life left in indie rock and, despite some fairly stale releases from last year, it’s a genre that can still surprise us. We just need a few more bands like Car Seat Headrest.

Best Tracks: ‘Beach Life-In-Death’, ‘Sober to Death’, ‘Bodys’.

Ty Segall – Freedom’s Goblin

Much like his garage rock contemporaries Oh Sees and King Gizzard & The Lizard Wizard, Ty Segall does not believe in taking a break. Following up 2017’s self-titled album, Freedom’s Goblin is Segall’s ninth album in ten years… And a double one at that. It’s been described by a lot of people as his White Album, a comparison that definitely fits. At 75 minutes long, it’s grand, sprawling and diverse (exploring every genre from disco to jazz), demonstrating that Ty Segall really is a master at what he does.

Unlike the White Album though, Freedom’s Goblin is a single, focused vision. Despite all the genre-hopping, it flows incredibly well; the dramatic piano ballad ‘Rain’ slips effortlessly into Segall’s heavy, fuzzy cover of Hot Chocolate’s ‘Every 1’s A Winner’, and the acoustic ballad ‘I’m Free’ feels like the perfect breather after the off-kilter freakiness of ‘The Main Pretender’. All of the songs fit together like the pieces of a jigsaw puzzle, and there’s only a handful that feel like they could’ve been cut. Even ‘Prison’, an instrumental track that lasts only a minute, feels important, acting as a fantastic bridge between ‘She’ and ‘Talkin’ 3’. It’s rare for a nineteen-song album to be so devoid of filler.

There are too many noteworthy tracks on Freedom’s Goblin for me to go into them all. ‘Fanny Dog’ which opens the album is bombastic and fun, with Ty singing about his pet dog over a typically fuzzy guitar and some trumpet flourishes. It’s a solid song, and there’s something undeniably sweet about him singing so dramatically about his pet.  Elsewhere, he dives into more jazzy territory with tracks like ‘Rain’ and ‘Talkin’ 3’. The former is a low-key piano ballad that builds to a big finish, while the latter is a deranged saxophone freak-out. There are also some great acoustic songs littered throughout the tracklist (the best of which being ‘My Lady’s On Fire’) as well as some which resist being pigeonholed into specific genres – like ‘Despoiler Of Cadaver’. Featuring an old-school drum machine beat, the track manages to be groovy and unsettling at the same time – a mood that the album pulls off frequently.

The album also features its fair share of great rock songs among Segall’s experimentation. ‘Alta’ is probably the most straight-forward cut on the album; it features a huge, almost anthemic chorus with a classic rock feel to it. ‘Shoot You Up’ similarly plays things straight, but has a more lighthearted and playful vibe to it. The album’s finest rock moment, though, is ‘She’ – a mostly instrumental track filled with writhing guitar solos and Segall screeching out the song’s title here and there. It’s rock in its purest form, and while there’s not a lot of substance to it that doesn’t stop from being a lot of fun. Segall knows how to put together a song that you just want to rock out to.

Though Freedom’s Goblin is consistent overall, there are a few weaker moments in the tracklist. A couple of songs do feel slightly inessential; ‘Cry Cry Cry’ and ‘You Say All The Nice Things’ in particular lean on the forgettable side. Almost every song on the album has a unique spark to it – allowing it to stand out in its own way – but these two don’t do much that isn’t done better elsewhere. In terms of the album’s softer moments, ‘My Lady’s On Fire’ and ‘I’m Free’ work a lot better for me.

But luckily, these weaker songs don’t detract from the album too much… Freedom’s Goblin is generally solid all the way through and avoids being front-loaded like many double albums are. It opens strong and it closes strong. ‘The Main Pretender’, which lands right near the end, might just be the album’s best cut – it’s fantastically weird, with some off-beat brass instrumentation, yet it also has a great sing-a-long chorus. Similarly, ‘And, Goodnight’, the album’s closer is stunning. It’s indulgent at fourteen minutes, but it feels like the perfect way to cap things off.

When a huge and sprawling album like this one is put out, it’s almost always a let-down. It’s rare for an album so long to remain engaging throughout, but somehow Ty Segall manages to pull it off. Freedom’s Goblin’s is one of the best rock albums I’ve heard in a long time and easily one of the best albums to drop this year so far.

Best Tracks: ‘Rain’, ‘My Lady’s On Fire’, ‘The Main Pretender’