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| Track by Track Review
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Robin Williams
There is a fuzz-laden, rocking mode that opens this cut. It drops to a mellower, evocative section from there for the entrance of the vocals. |
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Crystal Creek
This cut has a bit more energy, but it's still moody. It's more along the lines of modern R&B oriented pop music. My big issue with it is the fact that it's a bit over-produced. It seems too artificial with a lot of the humanity sucked out of by processing. With a lighter hand in terms of production, this could be a very powerful piece of music. |
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Lover
While this moody tune feels pretty artificial in terms of the instrumentation early, the vocals are free of that problem. When it intensifies and gets a bit more rocking at times, that problem (if it's a problem at all) vanishes completely. This is a dynamic and evocative piece of music. It's a standout, making it a great choice for title track. |
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Watermelon
More moody and evocative music, this has its charms, but the formula is starting to wear a bit thin. I think with some different music around it, this would really shine. Here it's just another song. |
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Lose You
This has a lot of piano in the arrangement. The cut is evocative and powerful It does get more of a driving, electronic rhythm section further down the road. This brings some variety to the set and stands out because of it. It really gets energized and soaring later. |
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Out of Time
Now this is another that is a big change. A cool bass driven arrangement serves as the backdrop for the vocals. For some reason, it reminds me a little of Peter Gabriel. It's slow moving and slowly evolving, but also very cool. The arrangement turns almost Beatles-like later. This earns a parental advisory. |
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Audrey Hepburn
Starting with an intricate guitar arrangement, this builds out into a moody mode from there. |
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Older
This gets a parental advisory. The cut brings back more of that over-produced sound with a vengeance. This is moody and rather interesting, but I can't get past the over-processed vocals. I think it would be a good song without that. I'm not overly crazy about the electronic more powered up R&B portion later, either. I'd think of this as one to skip. |
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Wild Horses
Now, the organic, acoustic guitar and vocal arrangement of this is a breath of fresh air after the artificial feeling of the last tune. This is the most organic thing here. It's also a highlight that really allows Gundersen's talent to shine without a lot of studio trickery. This is a folk-like soft rock tune, and a great one at that. That said, there is some over-processing on some of the vocals later on in the tune, but it's the backing vocals, so it doesn't take that much from the track. |
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So What
A moody tune more like the kind of sounds that started the album, this is a solid tune. After the variety we have gotten in the last few tracks, this feels fresher than it would have earlier. It gets more powered up and a bit rocking further down the road. |
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Little Cup
Another over-processed piece, this has a really odd start and stop approach to it. I find it more annoying than interesting. I'd consider this another tune to skip. |
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All My Friends
Now, this is a highlight of the set. it's energetic, playful and so much fun. It has some great energy and hooks. There is almost a jazzy concept here. |
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Kamikaze
Mellower and dramatic, I'm again reminded a little of Peter Gabriel as this gets started. This is another tune that gets a parental advisory. This piece is artistic and another standout. I'm not normally a fan of ending an album with a mellow tune, but this one works in that position on this album.
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