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Dark Compass

Reviewing music can sometimes be tough. Sometimes you just can't find something, not because it's not good or interesting, but simply because it doesn't click. I was in a funky mood today. Album after album just seemed to wash over me. I suppose I was looking for something, but I had no idea what. And then I came across the latest release from Sylvan Esso, an electropop duo from North Carolina.
 
The album starts with "Entertainment & Coca-Cola", with seemingly very lo-fi vocals, but as the song progresses, an electronic sound starts to accompany them. Both elements are so different, and shouldn't be complimentary, but they support each other so well, resulting in a strange but very effective opener.
 
The electropop sound is much more prominent in "Flood Season", and I think this is where the production first really gets noticed. There's so much to hear. Towards the end of the song, where names are mentioned, it reminded me a little of Peter Gabriel's "Games Without Frontiers".
 
With a much punkier sound, "Hot Slob" is a very visceral song, with attitude and swagger, somewhat reminiscent of 90s bands like Elastica and Garbage. It has a very radio-friendly feel to it. Maybe the lyrics are not so radio-friendly, but damn, this is a good track.
 
Things drop back into a much more chilled groove with "Concrete Glen". This is an interesting song, especially lyrically. There's lots of imagery and potential thoughts as to what "Concrete Glen" refers to. It's almost like a state of mind, a dark place, but the vibe of the song almost seems to sugar-coat it.
 
"Back Again" has a keyboard refrain, persisting almost like a drone. It has a very 80s score feel to it. The lyrics come in and there's an interesting disconnect, but at the same time, overall it feels compelling. As more accompaniment comes in, it gives the track a more vibrant feel and an almost jazz vibe in places.
 
Opening purely with vocals and remaining a cappella throughout, "Ribbon" feels very much like a brief interlude. At just under two minutes, it still packs an interesting punch. It stands out as something different, like a poem, but with a more performative interpretation.
 
Another more radio-friendly song, "Sledge", opens like it's being tuned in. Then the guitars hit, and this feels again very much like a more conventional pop song. It has a good beat and you can't help but want to move something.
 
There was something about "Right to Left" that at first felt very disconcerting. I suppose the opening verse didn't help, as it almost sets the stage for something dark and disturbing. There's certainly a tinge of darkness with this track, but there's something almost defiant about it. It's a song that feels very long, despite a running time of only three and a half minutes, but despite that feeling, it feels as long as it needs to be. Yes, I'm aware that almost sounds a little pretentious, but I can't seem to put it any other way.
 
"Good at Pain" has a similar defiant feel, but it's more about survival in the face of adversity. The accompaniment is simple but effective, allowing the vocals to remain centre stage.
 
Songs with a name for a title tend to have that much more personal feel, as is the case with "Jessica". It unfolds like memories, and you can't help but feel it's hiding a pain, but at the same time celebrating someone's life.
 
I have to admit, the opening to "On & On" felt very odd. It's almost like a song battling with itself, trying to decide the direction it wants to take, which it seems to do around the 25-second mark, where everything seems to fall into place. There's still a hint of disjointedness, which for me I couldn't seem to turn away from, resulting in a track that feels a little like a mental workout.
 
Closing proceedings is "Plastic Sword". The drums are so very prominent, thumping out a march. However, when the vocals come in, they set a very sea-shanty feel. On the sound production, there is something that sounds like the old cassette hiss you used to get on cassette players without Dolby sound, and rather than being annoying, it adds to the ambience. Maybe it's allowing my thoughts to drift back many years, when headphones with bright orange sponges were the norm.
 
There is so much in this album that I don't think the review can truly do it justice. There's very much two sides to the album, the vocals, and the musical accompaniment and production, both at times doing the heavy lifting. It's certainly going to be an album that will reward additional plays. A new band for me, but certainly one I'll keep an eye on.

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