William Tyler, Goes West

[Merge, January 25]

Hiss Golden Messenger’s M.C. Taylor first heard guitar wiz William Tyler’s new album while on a cleanse—“no alcohol, no drugs, no evil thoughts,” a statement reads—in Texas Hill Country. Goes West, Taylor says, “offered up a model for what I wanted my head to feel like.” Indeed, Tyler’s latest offering is remarkable in its clarity. At times, listening to the gentle and nuanced arrangements makes you feel like you just woke up to a fresh breeze on some bright, glorious vista. And aptly, the serenity is decidedly Western, earthy, like the kind of instrumentals that could score out-of-context shots from Paris, Texas. The dreamy plucking of “Fail Safe,” along with the song’s video of American landscapes and honky-tonk revelry, is all the intro you need. It’s the kind of record one might imagine the universe spins when you gain the perspective you needed. [Matt Williams]

Sneaks, Highway Hypnosis

[Merge, January 25]

“Oh my gosh, Highway Hypnosis is coming out on Merge Records!” squeals an excited voice at the start of Sneaks’ newest album. The enthusiasm is justified: Across Highway Hypnosis’ 13 songs and 29 minutes, Eva Moolchan advances her hyperactive but minimalist, swaggering but humor-filled pop. On “Saiditzoneza,” she employs only sparse drum machines and ghastly synthetic gasping as she endlessly repeats the track’s not-quite-a-real-word title. “Holy Cow Never Saw A Girl Like Her” is also named after its only lyric, which Moolchan airs with a rap-like cadence over just a chunky eighth-note bass riff. On “Ecstasy,” among the album’s handful of M.I.A.-esque turn-ups, Moolchan revels in slightly offbeat synths, drum-machine pitter-patter, and languid melodies as she sings about personal freedom. “Long live Sneaks,” she chants across this song’s outro, knowing Highway Hypnosis is bold enough to leave a lasting impression. [Max Freedman]

 
Join the discussion...