Review Summary: A little bit of this, a little bit of that
The above summary might seem a little ridiculous, and sure, it probably is.
A little bit of this, a little bit of that. It’s one of those old expressions people just say, usually without a lot of meaning behind it. Nonetheless, it’s what came instantly to mind when I attempted to characterize Goon’s sound on this record, the band’s second full-length, which sees an entirely new lineup around primary singer/songwriter Kenny Becker.
While
Hour Of Green Evening can fairly be considered indie rock, the songs presented within are heterogenous, constantly drawn towards different fringes of the genre. At times, the album leans towards shoegaze, at others towards grungy grit, towards folk, and even occasionally towards electronics. Most notably, there’s one memorable climax which explodes into something approximating post-hardcore or screamo. Some of these moments are an odd fit, and the release’s two short instrumental interludes are arguably unnecessary. What binds the record together, though, is its atmosphere, which proves somewhat reminiscent of prime-era Yo La Tengo. The imagery summoned here is all hazy summer days and nights in a suburban youth. It’s evocative stuff, the key ingredient of a thousand dreams, let alone the aspiration of a thousand albums. The handling here is top-notch, though. The phrase “days and nights” is an important one, as the album draws much of its lyrical subject matter from different moments throughout the daily cycle of dark to light and back to dark, and the associated memories and thoughts which these different moments can spark in all of us.
The summer months always have a distinctive feel to me, with the season retaining a certain soul which goes beyond blistering heat and more hours of light. It therefore follows that every year I have an unquenchable desire for more music which suits that unique vibe, however intangibly.
Hour Of Green Evening fits the bill just fine. While on the surface level, the eleven tracks here might come across as enjoyable listening, if nothing more, there’s a warmth to the songs’ narratives which add a richness to the album. In short, the tunes are able to convey, human-to-human, a well of deep meaning from the songwriter, which I’m able to absorb on the listening end. Part of it is the pensive lyrics, compellingly dreamlike, and part of it is in the nostalgic crunch of the guitar, which manages to pleasantly recall plenty of acts from through the years. Instrumentally, additional texture is provided by an abundance of strings here and there, as well as piano played by Spoon’s Alex Fischel.
Hour Of Green Evening is fundamentally a mood listen, an album which succeeds by engulfing the listener in an impenetrable atmosphere rather than by knocking out the listener with one highlight after another. That’s not to say the release is devoid of standout moments, among them the potent lyrics of “Emily Says”, muscular guitar on “Bend Back”, and a touching closer in “Last Light On”. In the end, though, it’s the LP’s sense of cohesion, achieved despite its sonic variety, which makes
Hour Of Green Evening a triumph. A measured triumph, but a triumph nonetheless.
