The genre-shifting, 90’s Seattle rock-tinged third album by New York City duo The Soft Underground is a trip of swirling and oozing electric synths, keys, guitars, flutes, and violins, backed by booming, exotic percussions.
Altogether the sounds on Anemoia dive, soar, twist and turn with rollercoaster-like tension, emotions, and energy. It almost sounds like Smashing Pumpkins, Foo Fighters and some Coldplay mixed up in a sonic blender spiked with mushrooms.
The duo is headed by drummer Andrew McCarty and multi-instrumentalist Charlie Hickey, who plays guitar, bow, bass, flute, and keys. Contributing vocalists include Sam Reed and Lisa Mac.
The founding duo is primarily a studio band with two previous albums that are decidedly more rock and guitars-oriented albums. Apparently, the album was recorded in less than a month at McCarty’s home studio in Memphis.
Right from the start, Anemoia gets full-throttle treatment with the opening track, “New York City Venue,” featuring pulsating and grinding beats surrounded by shape-shifting, colorful textures.
The illustrious opening track is followed by “Victoria Age,” another song that is bursting with sonic hues and textures grounded by Mac’s beautiful, soft vocals.
The earth shifts once again with the jangling guitars of the lo-fi, grungy pop title track. “Voicoder,” the first official lead single from the album, has a pulsating pace rolled up in rich and intimate strings.
The mood changes once again on the near-angelic “The Bullet Train.” At this point, the interested listener is thinking, “wow, what’s coming next?”
Thankfully that question is answered right away with the flute-driven tropical jazz vibe and alt-rock melodies of “Petals,” (again Mac’s dreamy, velvety vocals are on display) and the sexy and funky groove of “Charlie and the Congo.”
“Thematically, it’s a happy album,” McCarty said. “We tried to capture that state of euphoria where you can appreciate all facets of life, including the lows.”
After listening to this album a number of times, it is clear that The Soft Underground has been perhaps one of NYC’s under-the-radar indie/alt. rock bands of the last decade.
While Anemoia sets itself apart from their first two albums, which are celebrated in their own right, it is also understandable that it may not be everyone’s cup of music tea. However, if you celebrate (and miss) rock, it’s worth the listen.
From start to finish, Anemoia is free form wildness – an enthralling, trippy, exhilarating ride – kind of like life, but you are much safer.
For music aficionados who dig alt. rock mixed with various genres, and who seek and appreciate recordings featuring kaleidoscope canvases of sounds and textures where musicians can paint whatever they wish, Anemoia is a good bet.
It is not prog rock; progressive is much more glitzy, formatted and theatric. These guys are more artists than performers.
Other contributors include Alice Hasen; Bryan George; Mandy Lemons; Brandon Bachrach and Will Danger. The duo recorded the album at McCarthy’s home, located in Memphis.
