Review Summary: An electro-pop gem, Red is the realization of the vision that Jonathan "Weebl" Picking and Sarah Darling have been working toward for years.
While he may have become an internet icon for his intentionally repetitive viral videos, Jonathan “Weebl” Picking was not content with weirding the online community out with songs about waffles, amazing horses, and handbags full of Nutella. He wanted to evolve, refine that humor into something textured and, for lack of a better word, professional. Savlonic was Picking’s most ambitious project yet. An electro-pop collaboration between Picking and his wife Sarah Darling, Savlonic introduced Roscoe Thunderpants, Evangeline D’isco and Kandi Flauss, an animated trio that were bound to turn electro-pop on its head with quirky, Weebl-esque humor. But that humor was just the opening act: Savlonic’s singles introduced startlingly improved production compared to Picking’s viral tracks like “Badger Badger Badger.” Completely funded on Kickstarter barely 14 hours after beginning its crowdfunding campaign, Savlonic’s official LP,
Red, was set to realize the vision that “Electro Gypsy” introduced years before.
Red is a powerful statement for Picking and Darling as electronic artists. In a genre that’s so content with settling into its own stale niche, Savlonic are effortlessly creative, shamelessly bizarre, and just plain fun to listen to.
If you’ve been following Savlonic since its origins, you’ll recognize quite a few of the tracks on
Red. Of the eight original tracks, five of them have already debuted online. However, these tracks have gotten the studio treatment, re-recorded for the
Red LP. The band’s debut track “Electro Gypsy” has a plunking keyboard melody and one hell of a vocal hook. Picking’s voice isn’t as needle-sharp as the original recording, easing the edge with softer effects and steadier production. As the last of the five “classic” tracks, the re-recording of “Computer Guy” shows the least amount of change. It oozes texture, but still holds a near-perfect hook in the chorus. Some of the re-recordings like “Tiny Japanese Girl” don’t live up to the classic originals (usually do to some slightly overproduced electronic layering), but the songs themselves are a fine balance between electronic bliss and the enchanting vocal synergy between Picking and Darling. One of the best tracks is the sparkly “The Driver”, a shining example of Picking and Darling’s vocals at their absolute best, all enhanced with amazing melodies and the kind of shimmering atmosphere that rivals even the highest ranks of electronic production. Picking’s nasally tenor is so different from Darling’s waving, serene melodies, but that contrast adds a ton of personality to Savlonic.
The three brand new tracks are certainly oddballs. “Girls” is a simplistic party track, with brief vocal calls from Darling and an infectious beat. “Spelunker” isn’t just a more experimental track; it also shows Picking and Darling’s witty humor in an excellent light. With self-aware lyrics like “I’m gonna stretch this metaphor like it’s never been stretched before”, you’re bound to hear the same kind of quirky humor that has been a standard for Picking’s other works as Weebl. “Android” splits the difference between a cool sonata and a beat-centric electronic track, and while it’s not as enjoyable as the classic Savlonic songs, it’s still a welcome addition that demonstrates the group’s evolving production very well. Sadly, these are the only fully original tracks on
Red. While the re-recordings of the classics are great, it would’ve been ideal to see a little more freshness in the tracklist. Picking has never shied away from pushing the boundaries of his musical skill; you’d expect a few more mad creations to show their faces. Overall, though, Savlonic’s tracks mix in superb vocal diversity, a noticeable variety in tone and mood, and some of the most infectious hooks the genre can muster.
The final five recordings are remixes of the band’s music, but don’t let the typical “they’re just remixes” cloud blind you: these remixes are some of the best tracks on the album. Eqavox’s remix of “Android” is so stripped-down and somber, painting an entirely different picture than the more upbeat original. The Rob Scallon remix of “Wandering Eye” is less a remix at all and more a quiet violin cover of the track. Lil Deuce Deuce goes even further, producing a megamix of multiple Savlonic tracks. With iconic samples from everything from “Electro Gypsy” to “The Driver” to even the fresh track “Android”, the different components come together to make what sounds like a completely new track. The remixes are notable because they are so different from the originals. The remixers ambitiously turned the original moods on their head, giving already fresh tracks even fresher identities. This is the kind of remixing that needs to happen more in music of this type.
Savlonic’s
Red album could’ve used more brand new tracks to surprise long-time fans, but it can’t be denied how well it performs its already established duties. The classic songs haven’t lost a trace of creativity during their move to the full production studio; they’re still catchy, cohesive and enjoyable in all the right ways. That panache carries over to the new tracks just as well; blissfully humorous, but still completely serious in their expansive production and songwriting. Even the remixes are stellar, bravely re-worked to fit new moods and vibes.
Red is Savlonic’s best moment yet, a cohesive electronic joyride that confidently represents its creators’ visions. Jonathan Picking, Sarah Darling and everyone involved with this album’s production deserve a pat on the back. This is the Savlonic release that shows that this isn’t just a “virtual band” gimmick; this is musical marksmanship in motion and the flipped switch for even bigger things for this quirky, intelligent collective of musicians.
