American Football’s Third Album is a Blizzard of Complex Emo Rock

LP3 is a luscious piece of math rock that deserves to be heard in one long sitting, and a worthy third entry to the American Football catalog.

American Football is an emo/math rock four piece from Urbana, Illinois. They debuted with a self-titled EP in 1998 which gained them quite a bit of underground buzz for their unique sound, impressive instrumental abilities, and garage-based aesthetic. Just a year later, they dropped their self-titled LP which is something of a landmark for the emo genre. The album is universally praised, and saw the band sore to new heights of popularity, even years after their abrupt split. Without any new material to follow up, the self-titled release achieved near mythic status. Finally, in 2016, 17 years after their debut, they released the much celebrated LP2. Thankfully, there was no near 20 year wait for the third entry, and LP3 has just arrived.

The record is immediately notable for a unique and broad instrumental pallet. The bells on the opener, “Silhouettes,” are fascinating, dancing across the stereo image and carrying a well written melody. On a cut like “I Can’t Feel You,” on the other hand, there are choruses of humming and marimbas being used perfectly in tandem the more traditional instruments for an almost other worldly feel. Most importantly, each of these strange and surprising instruments is perfectly integrated into the mix so as to avoid feeling like a gimmick.

Beyond this, though, the core instruments are fantastic! The rhythms and bass line on a cut like “Heir Apparent,” inject just the right amount of energy and variety into the song. Of course, they take a back seat to the lead guitar work which is the strongest driving force behind every track, never overpowering but always leading. This is achieved to perhaps the best effect on the closer, “Life Support.” American Football has always been respected, primarily, for their instrumental abilities, and LP3 leans into this heavily.

This all leads to a chilling and at times haunting tone. On “Every Wave to Every Rise,” for example, the band utilizes repetition and minimalism in a way that feels almost clinical, leaving a listener searching for any sense of warmth or melody. The thick layers of complex guitar lines add to this general disorientation, with the quiet but present harmonies and rare moments of conjunction bringing a sense of relief.

I also found myself quite blown away by the band’s ability to flesh out every idea they present. Take a song like “Doom In Full Bloom,” which runs just shy of eight minutes, which can often feel like a life time, particularly with soft rock acts like American Football. Instead, this cut is able to be at once luscious and completely frigid. The many interesting instruments hidden in the mix make repeat listens a treat, and the perfectly toned drums and virtuosic guitar refrains make it infinitely entertaining. Overall, it’s the best track on the album, and a testament to American Football’s abilities as songwriters.

This brings us to the album’s strongest point without a doubt, that being the production. It’s already an obvious achievement to helm such a wide variety of instruments, as is unmistakable on a song like “Mine to Miss.” The way bells and horns gently dance in and out of nearly every track is wonderful, and takes an experienced hand. However, even on relatively simple tracks like the lead single, “Uncomfortably Numb,” the stereo image swirls around a listener gently, almost hypnotizing. Haley Williams’ voice sounds excellent on her feature and the guitars seem to ring forever, only to be split in half by the sharpness of the snares. From the big and obvious to the small and subtle, virtually every aspect of LP3’s production is nothing short of perfect.

All said, this is a great album. While it doesn’t jump out to blow you away from the first moments, the subtle touches, wide pallet, and despondent tone make for a moving and cohesive listening experience. It’s not perfect as the vocals are only passible, save a few great features, and the pacing can seem unbearable to non-fans. It’s not for everyone, but if you love this brand of soft but complex emo rock, it’s a must listen.

LP3 is a luscious piece of math rock that deserves to be heard in one long sitting, and a worthy third entry to the American Football catalog.

8/10

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Andrew Bird’s 12th LP is a Listenable Piece of Folk Rock

My Finest Work Yet is a moderately enjoyable album that could’ve benefitted from having a few more cooks in the kitchen.

Andrew Bird is an indie-rock vocalist and multi-instrumentalist from Lake Forest, Illinois. He debuted as a solo artist with 2003’s Weather Systems, after leaving the band Bowl of Fire, with whom he’d spent most of the mid to late 90’s. His early work found some following, particularly with fans of the band, but after signing with Fat Possum Records, he dropped 2007’s Armchair Apochrypha, his first solo effort to chart on the Billboard 200.  He went on top the US Folk charts twice, first with 2012’s Break It Yourself, and again with 2016’s Are You Serious. With a long career which winds through a multitude of styles, labels, and albums, Bird has become a favorite of folk-rock fans thanks to a consistent output and creative style. This week, he’s released his 12th album, ambitiously titled My Finest Work Yet.

Immediately, Bird’s experience as a songwriter is obvious in the many unique chord progressions he uses. Tracks like the opener, “Sisyphus,” and the album’s strongest cut, “Proxy War,” are fairly unpredictable and the inventive progressions allow for a few unique vocal melodies as well. It’s easily the strongest point of Bird’s songwriting on this album.

Vocally, he’s quite strong as well. On “Olympians,” he seamlessly transitions from driving, simple verses to large howling choruses, executing each with quite a bit of power and support. With “Archipelago,” on the other hand, he sells a relatively run-of-the-mill track with a dynamic mix of sweet falsettos a riveting strength. Andrew has never been renowned as a particularly remarkable vocalist, but for the majority of this albums he gives quite strong performances that elevate even the less impressive songs.

Maybe the strongest piece of this puzzle, however, is his skill as an instrumentalist. He is best known as a strong violinist, and he exhibits this many times on the record, including an excellent solo on “Don the Struggle,” which leaves me wishing each track had contained such a solo. He’s also noted, in the album’s credits, for his whistling, which is admittedly fantastic! On “Manifest,” for example, he whistles an excellent melody which adds quite a bit to the track.

On the subject of lyrics, unfortunately, My Finest Work Yet stands on shaky ground. There are wonderful moments like early cut, “Bloodless,” which draws much inspiration from the Spanish Civil War in 1936. On the other hand, there’s a handful of pretentious and overall meaningless lyrics all over the album. “Cracking Codes,” and the closer, “Bellevue Bridge Club,” are the worst offenders on this front, packed full of words which say very little.

Another complaint which has dogged this LP since the release of its first singles is just how far out on his sleeve Andrew wears his influences. “Sisyphus,” though enjoyable, could sneak perfectly into any Father John Misty album, which “Olympians,” pulls heavily from early Springsteen efforts. Additionally, “Archipelago,” and “Proxy War,” bare striking resemblance to the work of the Beatles. It isn’t so egregious as to make these tracks unlistenable, and if Andrew were a younger songwriter, I could easily forgive this, but at this stage in his career, it’s frustrating to hear such lack of originality.

The worst offense, without a doubt, is the production, which Bird did himself. Nearly every one of the 10 songs is muddy, lifeless, and flat. Additionally, he seems to have no care for the different tones needed for each track. “Bloodless,” for example, is billed as some mysterious jazz piece, but the instruments are so brightly mixed that all intrigue is gone. The album’s worst track, “Fallorun,” is a jumbled mess which is made infinitely worse by the way each instrument bleeds into one another. This record would have benefitted from a more expert touch behind the board.

Ultimately, My Finest Work Yet is certainly enjoyable. For fans of the growing folk-rock movement, this is a fine listen to hold you over until the next Father John Misty or Fleet Foxes release, but it could’ve been much more. Andrew’s songwriting and instrumental abilities set this album up with a ton of potential, but poor production, a lack of originality, and a very mixed bag of lyrics hold it back.

My Finest Work Yet is a moderately enjoyable album that could’ve benefitted from having a few more cooks in the kitchen.

5/10

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Todd Snider’s New LP is a Masterclass In Folk Music

With excellent songwriting, simple production, and heartfelt performances, Cash Cabin Sessions, Vol. 3 is one of the best folk albums of this decade, and a treat for fans of Snider or the larger Americana movement as a whole.

Todd Snider is an Americana singer/songwriter from Portland, Oregon.He debuted in 1994 with Songs for the Daily Planet. In total, he’s released 16 albums, not including compilations and special editions, each finding varying levels of success, particularly among Americana fans. Perhaps his best accomplishments are his two live albums, Near Truths and Hotel Rooms and The Storyteller. He’s at his best on these projects as his intimate sound isn’t interrupted by poor production and over-instrumentation. This was a problem, especially in his early years, as the apparatus just didn’t exist to find a producer who could do the Americana and folk sounds justice. Today, however, we’re experiencing a boom in the sub-genre and a multitude of producers committed to the sound. For this, his 16th album, Todd has partnered with the great John Carter Cash for his best studio effort to date, Cash Cabin Sessions, Vol. 3.

Perhaps the most surprising change of pace on this LP is the renewed focus on Todd’s acoustic guitar prowess. Tracks like the album’s highlight, “Like a Force of Nature,” and “Just Like Overnight,” the sparse production and arrangement leave nothing but space for Snider to fill with complicated and melodic folk riffs, which were played on the Martin guitar of the late Johnny Cash. He’s very rarely content with simple chords, and instead picks each note with intention and a strong ear that makes every cut infinitely better.

Much less surprising, however, is Snider’s razor sharp wit and penchant for quick, yet hilarious one-liners. On a song like “Talking Reality Television Blues,” he crafts a long winded critique of modern culture, beginning with the invention of radio and culminating in the election of a reality television star to The White House. “The Blues on Banjo,” on the other hand, feels like a random riff on the insanity of the world, not to mention acting as a comedic turn on the kind of simple, one-take recordings that brought early blues stars like Robert Johnson to fame. “A Timeless Response to Current Events,” closes the album as a hilarious, wordy talk blues number that mocks the formalities of government proceedings. None of these tracks are necessarily sharp-tongued, but they’ll make virtually all listeners laugh, and that’s the goal.

Aside from jokes, there are also a few genuinely impressive lyrical moments on this record. The opener, “Working on a Song,” perfectly captures the life a song inside the mind of a writer, including both the comical frustrations of feeling it so near to being finished and the heartfelt connection a writer feels to his craft. “The Ghost of Johnny Cash,” appears later on the record and it is at once haunting yet beautiful. Todd celebrates the icons of the genre with the tail of Loretta Lynn meeting the ghostly form of the late Johnny Cash for a dance in the rain.

Todd has a trend on this record of writing specific stories about figures in music history. “Cowboy Jack Clement’s Waltz,” tells the story of its namesake, a very important producer and friend of the late Johnny Cash, mainly cobbled together from stories told to him by John Carter Cash. “Watering Flowers in the Rain,” as its preceding explanation says, tells the story of a longtime roady for Elvis Presley and the frustration he felt at never taking the spotlight himself. These are some of the most interesting tracks on the album and they’re aided heavily by the spoken sections that lead into them.

Another strong addition to Snider’s arsenal is a fantastically well-played harmonica. It’s perhaps most notable on a track like “Framed,” but it’s an ever-present element of virtually the entire album. His ear for melody is, of course, the driving force behind the harmonica’s effectiveness, but the sharp and almost abrasive tone which is allowed to remain in the final mix without overly softening the edges.

Todd Snider said that recording this album was a result of a recurring dream in which Johnny Cash himself would wake him up from his resting place on the floor in the center of the Cash Cabin Studio, which is incidentally the site where Cash passed away. When Todd opened his eyes, Cash would point to the engineers booth and say “you’re missing it.” And so, Snider set out to make an album at the studio which would make The Man in Black Proud and I think he succeeded.

With excellent songwriting, simple production, and heartfelt performances, Cash Cabin Sessions, Vol. 3 is one of the best folk albums of this decade, and a treat for fans of Snider or the larger Americana movement as a whole.

9/10

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The Bouncing Souls Celebrate Their 30th Anniversary with Fun EP3

Crucial Moments is an ultimately enjoyable, if flawed celebration of thirty years of good music.

The Bouncing Souls are a punk rock band from New Brunswick, New Jersey. They debuted in 1994 with The Good, The Bad, and the Argyle, and went on to release four albums throughout the 90’s, each finding some level of underground success. Though their catalog lacks any real mainstream hits, it does show every sign of a hard working, old school punk act with 10 studio albums and 15 EPs since their formation in 1989. After beginning with Chunksaah Records, they left to work with Epitaph for the majority of their output in the 2000’s but they’ve recently returned to Chunksaah for their most recent projects including 2016’s Simplicity, which is one of their best selling albums to date. With their 30th anniversary approaching, they’re adding to their extensive catalog with Crucial Moments.

The EP opens with the high energy title track which kicks off the tracklist in style. It’s essentially a straight forward, pop-punk cut driven by Greg Attonito’s impressively clean vocal. The drum fills are fast and exciting and lead guitar is extremely well played. The pulled back bridge, though quite cliche’d, is enjoyable and the crisp production makes for quite the opener, overall.

“1989” is a much more true blue punk track, all the way down to the terse, 90 second runtime. Instrumentally, there’s no dip in quality to be heard and, in fact, there is the improvement of a very well played bass line on the bridge and an entertaining guitar solo. Unfortunately, Greg’s vocals lack the grit needed to pull off this sound, and the song is at it’s best when he returns to his melodic style near the end. Additionally, the structure of this track is just awkward and it leaves quite a bit to be desired, ultimately.

“Favorite Everything,” follows, driven especially by an ear-worm guitar lead. Lyrically, its a fun love song full of quirky platitudes which are performed quite convincingly. Beyond this, the drums are, once again, excellent, aided by a great rhythm in general. The track’s biggest weak points are the transitions between sections. Choruses just seem to start and end with no noticeable change beyond lyrics, and the track as a whole bleeds together a bit by the end.

“Here’s To Us,” on the other hand, is easily the strongest showing on the project. The instrumental is explosive and Attonito’s vocals are his best thus far. The melody on the chorus is fantastically well written, though the lyrics are a bit juvenile, admittedly. It ends with a soaring guitar solo directly into an exciting passage of doubled vocals. It’s exactly the sound you want to hear out of this band and it’s delivered better here than anywhere else.

The band returns to the traditional punk sound again with “4th Avenue Sunrise,” this time with much better results. Greg defaults to a more charismatic, blues-tinged vocal style which fits the song much better and more importantly, this cut doesn’t feel nearly as incomplete. Each idea is presented and fully fleshed out while the high tempo retains the quick impact they’re going for.

“Home,” closes the album and it’s a relatively enjoyable finish. It features yet another excellent chorus which is very well performed by Attonito. The crunching lead guitars are pure pop-punk and explosive drumming brings the choruses to a head in a very satisfying way. Overall, it’s one of the stronger cuts on the project, not the least of which because of the very strong songwriting.

Ultimately, this is a fun collection of songs, though it’s lacking in more than a few areas. There’s really not a single track that isn’t enjoyable in some way or another. The tracklist is very well paced and the production is slick but full of life.

Crucial Moments is an ultimately enjoyable, if flawed celebration of thirty years of good music.

3/5

Hear the EP

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Mystifier Is Back With a Brutal Fourth Album

Primal Black Magic Dynasty has plenty to complain about, but it’s a fun listen for fans of the more brutal side of the music world.

Mystifier is a black/heavy metal band from Salvador, Brazil. They debuted in 1992 with Wicca was a large part of the often overlooked Brazilian metal scene. With a handful of EPs and demos, they began to find some success worldwide and released their second LP, Goetia the following year. This was followed by a large scale tour and quite a bit of critical acclaim before the group split for a long hiatus. They returned in 2008 with their career defining third album The World is So Good That Who Made It Doesn’t Live Here which kicked off yet another large tour followed by yet another long silence as they’ve only sparsely appeared since the release. Sonically, Mystifier is, in many ways, a poster child for the kind of stereotypical, satanic black metal that newer bands only see fit to elude to. Now, after more than a decade off, Mystifier finally returns with Primal Black Magic Dynasty.

One of the album’s most interesting touches are the haunting and well placed atmospheric sounds that begin a few of the tracks. Perhaps the best example of this comes in the horrifying opening to “Witching Lycanthropic Moon,” which melds a wide array of nocturnal animal noises with a gritty, growling vocal to set a listener immediately into the hellscape that Mystifier is trying to create.

Yet another strength unique to Primal Black Magic Dynasty is the very well mixed and played bass guitar. In a genre which consistently struggles with allowing the bass to cut through the fog, Mystifier makes it sound easy. There are fantastic solos on tracks like “Heart Weighing Ceremony,” and “Demolish the Towers of the Sky,” but throughout nearly every song, the bass is not only loud and clear, but active and creative, adding to the dark scenery of the project.

Those scenes are quickly ripped to shreds, however, by the gut-wrenching guitar riffs that populate the album. From the last single and highlight of the entire record, “Six Towers of Belial’s Path,” to the later cut, “Soultrap Sorcery of Vengeance,” the guitars are extremely thick and driving, owing in part to excellent performances and in part to strong production choices. Most importantly, the tone and melody isn’t lost in the growl, but instead a near perfect balance is struck.

Vocally, the leads are about as horrific as one would expect from the gothic horror on the album cover. There’s a pair of vocalists trading lines between each other, one much thinner and piercing, the other lower and cacophonous. Tracks like “Thanatopraxy,” and “Al Nakba,” stand as strong showings for the pair, and while they aren’t perfect at every turn, there’s a power and passion that comes through on each effort.

Instrumentally, though, the most technically demanding parts are left for the drumming. From the opening title track to the later and darker “Church of the Molested Children,” the drumming is lightning fast and explosive. This isn’t uncommon for music in this genre, but it’s especially noticeable on this record.

Their best quality comes when they are all working together. Namely, the dynamic shift from brutal, high speed thrashing to melodic breakdowns and back again on cuts like “Akhenaton,” is exhilarating. Mixing in elements of more traditional heavy metal allows them to create moments that even a casual hard rock fan can enjoy before diving headlong again into the crushing blasts that characterize most black and death metal.

On the other hand, I do have my complaints, which mainly fall into three categories. The first of these is the lead guitar  which almost never seems to fit as none of the solos are particularly impressive and it constantly fails to make its way to the front of the mix. The second is is the instrumental pallet which, though somewhat wide, feels almost like a gimmick outside of the core instrumentation. All of this is made infinitely worse by my third and main complaint, which is extremely poor mixing, particularly in instrumental passages as the drums never quite fit and the rhythm guitar seems to drown out all else.

All this being said, I enjoyed this LP quite a bit. It’s good to hear such an early member of the black metal movement return to the scene with a strong effort.

Primal Black Magic Dynasty has plenty to complain about, but it’s a fun listen for fans of the more brutal side of the music world.

6/10

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LSD Supergroup Drops Fun but Shallow EP

No New Friends is a fun, danceable EP, though it falls well short of its potential.

LSD is a recently formed supergroup featuring Australian pop star Sia, American DJ Diplo, and British singer/rapper Labyrinth. Each member has had quite the career in of themselves. Sia is perhaps best known in the US for her smash hit single, “Chandelier,” but she has eight studio albums, one of which is certified platinum, and she’s a highly respected pop vocalist, known for her powerful belting voice. Diplo is one of the most prolific producers of the modern era, having worked with the likes of Snoop Dogg, Justin Bieber, Lil Pump, and many more. He’s best known for his work with hip-hop and pop artists, and he boasts a handful of Grammy awards and platinum singles. Labyrinth may be the least known of the trio as most of his work is done as a producer and cowriter with artists like Eminem, XXXTentacion, and Ed Sheeran. He does have one solo LP to himself, but he’s best known for his work behind the scenes as a well respected writer and producer. Each of these three artists have had quite a bit of success on their own, and now they’ve joined forces for their first EP, No New Friends.

The record opens with the very fun and danceable title track which at once seems to lay bare every success and shortcoming we can expect on the the rest of the project. Sia gives a strong vocal performance and the chorus features a great hook. My main gripe, however, comes on the instrumental. Diplo’s efforts on this track leave much to be desired in terms of depth, as the track is relatively inoffensive, but very noticeably lacks the depth and lusciousness I would expect from such a team.

“Genius – Lil Wayne Remix,” follows and this is the trio’s debut single, updated with a verse from Lil Wayne that adds quite a bit. I can’t say I enjoyed it quite as much as the original version, which appears later on the project, but Wayne gives a typically energetic verse and Sia once again sounds great on the chorus.

“Mountains,” on the other hand, is easily the weakest of the six songs. Here, not only is the instrumental once again shallow and uninventive, but many of the synths that decorate the melodic hook are just abrasive and irritating. The chorus is certainly enjoyable, but without a strong vocal performance from either Sia or Labyrinth, Diplo’s production is just left to flounder as the main attraction.

This is followed, however, by my favorite track, “Thunderclouds.” Here, we’re treated to two excellent vocal leads, predictably in Sia’s commanding first verse, but also in a surprisingly soulful effort from Labyrinth on the second. It’s one of the most singable and endearing cuts here, and the value of the two strong lead singers and their chemistry can’t be overstated.

“Audio,” is yet another misstep and yet again, it really boils down to whether Sia takes a place front and center on track. In this case, she doesn’t, and we’re left with another fairly shallow instrumental with a somewhat catchy chorus. Most of this project is still fun and danceable, but it doesn’t nearly reach the levels it could’ve had Diplo taken the time to fill out the sonic image and get inventive with the instrumental pallet. Driving, nondescript synths over vaguely interesting drum loops can only go so far.

“Genius,” closes the EP and while I question why this track was even included as it had already been released previously and a remix of the same track appears earlier on the project, it does make for an entertaining closer. Labyrinth gives another excellent verse and Sia is, of course, fantastic. The instrumental is actually somewhat interesting, especially the inclusion of heavily processed violins and the grooving beat. It’s not the best cut on the list, but it’s a strong closer.

All told, No New Friends is admittedly a bit disappointing. With three extremely talented artists joining forces for such a short project once would expect a tightly packed collection of hits, but that’s simply not what was created. That being said much of the project is still fairly enjoyable.

No New Friends is a fun, danceable EP, though it falls well short of its potential.

3/5

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Sun Kil Moon Returns With Much Stronger LP

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

Sun Kil Moon is a folk rock artist from San Francisco, California. Originating as a continuation of the defunct indie rock band, Red House Painters and sporting a long list of past members, Sun Kil Moon is now the primary moniker of Mark Kozelek, the group’s original lead singer. He’s amassed quite a discography over the past fifteen years, never reaching meaningful commercial success, but becoming a certified critical darling thanks to multiple excellent reviews. His latest record, This is My Dinner, held a few interesting ideas, but was ultimately bloated and often boring.

The album opens with “Coyote,” and immediately we have a strong improvement from the previous record. The instrumentation is sparse and only loosely conforms to any type of rhythm, and it’s aided by a reedy, humming woodwind that brings the moody undertones to a head. Kozelek’s vocals are also fairly impressive, especially the doubled harmonies on what could vaguely be called a chorus. Lyrically, this isn’t the most impressive cut on the record, but there’s quite a bit of solid comedy and it’s certainly a step up from the at times unbearably boring writing on This is My Dinner.

“A Day in America,” follows, the second longest and easily one of the strongest tracks on the record. While the instrumental and production are relatively simple, the lyrics bring this song to a new level. Using his trademark, stream of consciousness style, Mark rambles descriptively through his experiences on the day he learned of the recent Parkland Massacre in Florida. True to form, he rarely stays on topic, devoting large amounts of time to a petty argument with his band, but this works to his advantage here as he says more by rambling off topic acting as a commentary on the tendency of American’s to brush these events aside. It’s a simply brilliant piece of storytelling.

“L-48,” is the third and shortest track, an yet, in many ways, it’s the least focussed. The lyrics seem to have very little to say, and while they may perk the ears of long time Sun Kil Moon fans, they leave a casual listener like myself a bit bored. The instrumental on the other hand, is quite fascinating. Extremely simplistic in presentation, the track presents a multitude of concise melodies with strong focus. The drumming peaks in and out, and the track often feels just one beat from completely falling apart, teetering on the edge of incoherence, and yet consistently intriguing. It doesn’t make up for the weaker lyrics, but it’s an enjoyable piece nonetheless.

“Cows,” on the other hand, returns the record to a fuller sound, largely to its detriment. The melody is much less clear on this track and the drumming is somewhat boring. Lyrically, however, “Cows,” proves impressively capable of holding a listeners attention for the substantial runtime. Using cows as an anchor point for both his rural youth and his philosophical readings, Mark gives us an interesting peak into his psyche and even smuggles in a few profound ideas.

“I’m Not Laughing at You,” kicks off the hefty second half of the LP. It benefits, musically, from the addition of a strong horn section and some excellently spacey production. This is also one of the more interesting storylines as Mark uses a tale of misunderstandings and embarrassing moments while on travels in foreign countries to examine America’s status among the rest of the world, mocking our excess and ignorance, while lauding the many great contributions the US has made, particularly in the realm of songwriting.

“Couch Potato,” is yet another strong entry and maybe the most fun cut on the tracklist. The looping guitar and energetic rock beat is reminiscent of a classic 1970’s pop-rock, but lyrically, it’s quite biting. In it, Sun Kil Moon lambasts the left leaning majority in the US for their silence and lack of concern for immigrants under previous presidents. He goes on to predict a reelection of Donald Trump, should the majority of voters continue to accept the status quo as it is.

“Bay of Kotor,” closes the album with a daunting 20 minutes all to itself, and it uses its time well. Easily the strongest track on the album, Sun Kil Moon tells a sprawling story of a rather tame but interesting night in San Francisco. He touches on his love for animals, his inability to connect with women who hit on him, and a series of unique interactions with a hotel waitress from the area. 

All said, this is a large step up for Sun Kil Moon. The instrumentation has quite a bit of character and the lyrics, though at times meandering, are often fascinating and creative.

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

6/10

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