The hushed androgynous intensity of Greg Gonzalez remains the same in many ways. I reviewed their 2017 album, which I found interesting, but perhaps not enough to review their second album. I am glad I checked back in on these guys, as they have matured in a way that allows me to wrap my head around this. With the first album, I think I was halfway into their first album before I realized the singer was male. Now his tone is fuller in a way that shares more common ground with Elliot Smith. Perhaps over the years playing shows he now puts more of his guts into his singing as his voice songs project more and there is less of the feeling he is up close to the mic.
The tempos are rather uniform in the slow-burn minimalism that is the formula of their songwriting. His lyrics are heartfelt and honest, which lends some weight to the otherwise fragile nature of what is being done here. In fact, the lyrics punch more than the notes being played or beats under them, no thanks to the gentle coo of his voice. Four songs in and the slow dance begins to make your ears grow a little tired of the lullaby, and I begin to need more dynamics. It's interesting because I just reviewed the new Raveonettes album and there is a similar feel, but the Raveonettes feel like a more organic band. There is a more 70s vibe to "Holding You Holding Me". The song flows better and it feels like there is more substance holding things together here.
"Dark Vacay" drifts with more of a slow-core creep, though still in the 70s mood that keeps it from falling into the zipcode of bands like Low. The drugs that are being name-dropped make sense, and lyrically it is more depressing than the sounds coming out of the speakers. The percussion while still more low-key than what an actual rock band would do, still creates more of a sense of motion to "Baby Blue Movie". The melody is poppier than the previous songs. "Hot" finds him back up close on the mic. The way the song unwinds like a lazy river has a great deal in common with dream pop and post-rock. Post-pop might be the best way to describe it. When guitars break the surface the tones are great, I just wish they were more present in the mix.
The roundabout mention of meth on "Dreams From Bunker Hill" feels odd as this seems like it would be the last sound that would be created smoking meth. Goes to show it takes all kinds, he looks way older than 41, so I am sure the drugs are not just props to give the lyrics more edge. Speaking of drugs "Ambien Slide" closes the album. This song has more impact thanks to the stellar lyrics, he does not do anything different with his voice it's all in where he puts it. He does sound better, and there is growth all around on this album. There is a grounded melancholy not unlike that of country music, actual country music not the pop version, so I guess if you are too used to city life and do not have the kind of cowboy fantasies Orville Peck invokes then this folk music for closeted gay addicts, perhaps in recovery due to the lovely of self-reflection here. I will give this album a 9, which makes it better than the first one. This dropped on Partisan Records .
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