Ever wonder what it would be like if the glistening, lo-fi sounds of indie-rock and shoegaze coalesced with a kaleidoscope of mid 20th century stock footage? I hadn’t either, until I watched Commuted and birdboy’s stunning collaboration below.
Former Continu-kid David Eatock’s most recent release All’s Well That Ends Well is a weaving sonic narrative that merges fuzzy distortion, glittering, glassy sweeps, and chilling pitch orientations that would melt any DIIV-lover’s heart. Though the vocals sometimes have a difficult time cutting through the layers of aural bliss, the lyrical uncertainty and octave harmonies only add to the album’s overall cloudy, muddied feel.
On a track-by-track basis, the album is chock-full of paradox. The album waltzes in with the sombre doo-wop “Prom Night,” followed by the catchy cleans and pulsating crunch of “Matilda,” a character that plays out through the tracks both lyrically and sonically. With the clatter of what is indeterminably a snare or a train track, the listener is enchanted by the simultaneously distant-yet-intimate acoustic track “The First Child.” “It’s Understandable” maintains a similar aura of desperation, but the clicking drum track and the reverb of the guitar brings a certain hopefulness and clarity that carries into “Go Where Your Friends Are,” a shimmering tune with an irresistible bridge of crisp strums and a repetitious synth line that drives the song. The most jarring collide occurs at the end of the album between the cacophonous noise and falsettos of “Dream Coffins” and the multi-layered, explosive dreamland of “Farewell Matilda.” It’s these types of contradictions that make this album shine, creating an intricate and atmospheric sound-story that is paralleled beautifully by the collage of film clips put together by bird boy. The visuals emphasize the despair that carries through the album, and bring along with it a sense of nostalgia for a lost time both missed yet ungrudgingly remote.
Without further ado: