THE NEW SOUND

Geordie Greep is the vocalist and guitarist for the recently-disbanded avant-prog band black midi. That act made quite a name for themselves over their last two albums, Cavalcade and Hellfire, both of which I like a lot. Their dissolution was sudden and seemed to catch everyone by surprise, but Geordie?whose unique voice and jumpy, angular guitar were key elements of their sound?has come out with his solo debut

The New Sound is a sprawling double-album that largely carries black midi's flame. Some of his former band's songs featured the occasional tropicalia influence, but that element is much more prominent here. Avant-garde tendencies are toned down, and jazziness is cranked up. Much of this record was recorded in Brazil with local musicians, so that likely further solidified Greep's clear underlying love for this style of music.

The first song, "Blues" opens with rapid, jumpy, odd-time, palm-muted guitars that alternate between fluid arpeggi and start-stop patterns. Greep's vocals, talk-sung, are about the frustration and disillusionment of trying to adhere to hypermasculine ideals, and he demonstrates some downright-Springsteenian verbosity. The song builds in anger and anxiety, turning into a crashing, brash wall of anger. Brass and synths add to the overwhelming atmosphere in the climax. Following this, "Terra" has a mellow, mild Latin-jazz bent. It's laid-back and romantic sounding, though Greep's macabre lyrics are a fun contrast.

"Holy, Holy" blends black midi-ish jittery prog with the previous cut's Latin flavors. There are some flashes of brilliance in this cut, but it just doesn't quite land for me. The tropicalia influences are not my favorite element, at least not in this particular incarnation, and the song is longer than it needs to be. But the atmosphere is fun, and there's some really fantastic instrumentalism on display. The final 90 seconds, in particular, are great, featuring some wonderful, lush tones.

This album's title track has a delicate guitar intro. It gradually builds into a fun, funky, soul-influenced instrumental. Skittering, muted guitars and glimmering organ lend this a light feeling, and there is a sense of upward movement. Wordless vocals and aggressive bass even give it a vaguely Magma-ish quality at moments.

"Walk Up" opens on tense, groovy stabs of guitar that sound like an unplugged version of the band UK. There's a slightly new wavey vibe to this cut, and about halfway through, there's a downright-joyous sounding passage with ascendant synths. The song's prior tension interpolates with this, and what had started off as just "okay" elevates into something thrilling and spectacular.

Latin flavors return on "Through a War", and the vignette presented here is, as with pretty much every other song here, a peculiar story about a peculiar man trying to tell himself he's got things under control when that cannot be further from the truth. Musically, it's got some fun moments, but this song feels a bit long. In contrast, "Bongo Season" is a short little piece that features some jittery, wiry guitar work.

Following a brief, morose opening, "Motorbike" bursts into an anxious, high-octane passage that is one of my favorite musical passages on the record. A guest vocalist is featured here, and that helps this cut stand out. This composition features the strongest avant-prog flavors on the whole album. Guitars clang and crash, saxophones honk and squeal, and the drums are roiling and often beautifully off-kilter.

"What If Waltz" has a smooth, laid-back vibe, and there's a certain sultriness to the music. Dramatic, self-loathing lyrics couple well with harsh stabs of static; and sweeter moments pair with saccharine strings.

The 12-minute "The Magician" is the longest song on The New Sound. Jazz and traditional pop flavors dominate in the song's early moments. Greep's vocals are melodramatic, and the backing is lush and enveloping. The lyrics of desire remain the focus in this song's slow midsection. Organ and strings provide an amorphous backing, and as someone who really doesn't care about lyrics, this passage loses me somewhat.

Once the drums come back in, though, this song's conclusion is fun. Guitars swirl and clatter, and there's a feeling of disorientation as the different instrumental elements both bleed into one another and fight each other.

Classic pop sounds return again on the closing "If You Are But a Dream", a Frank Sinatra cover. And classic pop is honestly all it is. I'm not super into it, but if you're into crooners, you'll probably like it.

The New Sound is a big, ambitious album, but it doesn't quite live up to its lofty, aspirational name. The music is smart and complex and well-played, but this is stuff Greep himself has dabbled in before. 

Pedantry about the title aside, I like this album, overall. Geordie Greep has proven himself to be a skilled and clever songwriter who can weave together disparate styles seamlessly. However, many of the styles he chooses to weave together are not styles I like, so this hampers my own enjoyment of The New Sound. Latin jazz isn't my favorite, and I'm really not a fan of traditional pop beyond an isolated song here or there. Greep is also a better lyricist than most, and the stories he tells are usually entertaining. However, the lyrics on this album remind me of The Catcher in the Rye in the main character's bravado and insecure whininess. I hate that book, so this isn't exactly a flattering comparison. It's probably just one more reason why this record doesn't land fully square with me.

Your mileage will likely vary from my own. Most people care about lyrics more than I do, and Greep just happens to fold in styles I'm not really fond of into his progressive rock base.

Review originally published here: theeliteextremophile.com/2024/10/28/album-review-geordie-greep-the-new-sound/