Sunday 27 Jul
 
 

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Friday-Saturday
Downtown Tulsa 
centeroftheuniversefestival.com 
$35-$50 

07/22/2014 | Comments 0

Mack truckin’

Swizzymack
9 p.m. Friday 
Kamp’s Lounge 
1310 NW 25th St. 
lndrnrs.com 
819-6004 
$10-$15 

07/23/2014 | Comments 0

Chevy cruisin’

Chevy Woods with Kevin Gates & more
9 p.m. Sunday 
Vibe Night Club 
227 SW 25th St. 
$20-$40 

07/16/2014 | Comments 0

Rock steady

Tesla
7 p.m. Saturday
Frontier City
11501 N. Interstate 35 Service Road 
frontiercity.com
478-2140
Free with park admission 

07/16/2014 | Comments 0
Home · Articles · Reviews · Electronica · Neon Indian — Era...
Electronica
 

Neon Indian — Era Extraña


Set synthesizers to … video game?

Matt Carney October 4th, 2011

Alan Palomo, Neon Indian’s oddball brain, is literally one week older than me, according to his Wikipedia page (note to self: Build my own Wikipedia page). This boggles my mind, although it really shouldn’t. The bands building these synth-thick, shoegazey, beat-propelled chillwave albums are all kids screwing around on the Internet (see: Washed Out, Youth Lagoon, Toro Y Moi), so it shouldn’t come as a surprise then to find out that they like to also sometimes record really cheeky, very fun music.

neonindianeraextrana

Case in point: “Era Extraña.” After 2009’s laughable, infectious debut album, “Psychic Chasms,” Palomo’s dropped into minor keys, thickened the wall of sound and reinforced his drum machines for greater impact. All signs in this description point to some bizarre, electronic-Goth-dance hybrid, but I’ve left out one important sonic quality that turns that on its head: analog video-game melodies.

Literally, opening track “Heart: Attack” sounds like you’re being born into some early ’90s arcade, twinkling with all the bleeps and bloops you can recall just as clearly as the potent mix of greasy pizza crust and floor sanitizer that permeated every restaurant you loved as a kid. The melodies range from clear-as-day distinct (“Polish Girl,” an early highlight and probably the best track here, and “Halogen [I Can Be a Shadow]” both show off Palomo’s flair for pop), to murky and alluring (back-to-back tracks “The Blindside Kiss,” and “Hex Girlfriend”), suggesting that Mario’s whisked Peach off to a private bedroom somewhere in that tower of hers.



Palomo hasn’t completely ditched “Psychic Chasms”’ more garish elements (he actually named one of those tracks “Terminally Chill,” for Chrissakes), they’ve just channeled themselves into the TV screen, per bonus track “Arcade Blues,” which samples what sounds like a line from an old-school “Street Fighter” game. I mean really, check out the terrific, gimmicky commercial for the 'PAL1980X' synthesizer embedded at the bottom of the page.

There’s also a lot to be said for the care and painstaking work put into the looping, squiggling and constantly shifting synthesizer arrangements that fill out the body of this record. Same for the Palomo’s broody singing, which he obfuscates to muttery feelings with great success on “Fallout”: “If I could fall out of love with you, need to fall out of love with you, please let me fall out of love with you.” It doesn’t sound as desperate as singular, like it’s the lone thought in his head. It’s a love song about anti-love.

There’s also a major shift in mood and tone midway through the album, with “Fallout” and Palomo saves his first real, plopping-’80s bassline for the “Heart: Release,” the album’s final track if you don’t count “Arcade Blues.” One thought I couldn’t seem to shake was that “Suns Irrupt” (probably my favorite here, for reasons about to be articulated) strongly resembles LCD Soundsystem’s “Someone Great,” mainly in the shape that that forceful, low-end synthesizer combines with that little snare rhythm to create early on in the song.

For pure chill factor, I recommend Washed Out’s full-length debut as a superior document, but “Era Extraña” seems to me more unique and arty than any other of this year’s chillwave offerings. I do also think it’s a terrific step forward from “Psychic Chasms,” one that will no doubt lead to incredible stuff from young Palomo.

 
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