TALES FROM EQUESTRIA

Ukeleles, accordion, harmonica, clay pipes, "trumpets" and programmed NeoSoul/R&B and Indie-Pop rhythm tracks and strung-out emo "male" vocals: where is Vylet taking us with this one? Is it even set in or representative of a story/adventure from the My Little Pony universe?

1. "Over Equestria" (3:38) beautiful, cinematic piano instrumental to open the album. Though it feels heavy, it also feels as if a perfect continuation from Pony's previous album, Mystic Acoustics. A top three song despite the fact that I feel misled into thinking the music that follows will be beautiful and not depressing. (10/10)

2. "In a Rush" (4:03) Latinized jazz-rock R&B! (Owl City once again comes to mind.) The chorus is, however, more animated feeling a bit like some of the 1980s techno-jazz-rock (The Ambitious Lovers, Gene Loves Jezebel, Modern English, Bill Nelson/Be Bop Deluxe). (8.6667/10)

3. "I Can't Stop Thinking" (4:18) ukelele's, piano, and androgynous singing voice performing a very standard-sounding emo-Indie-pop song. (8.75/10)

4. "Little Hugs" (4:05) Harold Budd-like piano over which long-time collaborator Namii performs beautifully with her beautiful soprano voice. Ukelele is present as are background vocals from Vylet and GalaxySquid and some kalimba. A very pretty, even heart-wrenching, if simple and poppy song. A top three song. (9/10)

5. "Hard to Say Anything" (2:35) two seventh chords, one minor, one major, plucked on a classical guitar, soon joined by ukelele, accordion, plastic/clay flute, and more of Pony's plaintive androgynous vocals. (I swear that there's a male voice in there doubling Pony's.) (4.5/5)

6. "Sugar Belle" (3:00) another modern NeoSoul/R&B-sounding song pulled together to carry one of Vylet's more poppy vocals. (These are the lyrics and vocals of an artist that wants some exposure on radio/streaming services.) (8.875/10)

7. "Hold On Before I Forget" (3:49) sounds like the music a heroine tripper would hear or crave. Do I hear the strains of the lovely voice of happy girl in the distant background behind the lead voice of depressed Andro-persona? Gentle and dreamy with some trip-hop lite rhythm tracks sneaking in from below from time to time, I'd love to know what this song represents from the My Little Pony universe. (8.875/10)

8. "Oak Library" (3:24) fake-cheery ukelele-bread Indie-trip-hop pop from a drugged up depressive. Herbie Hancock-like synth noises and synth trumpet in the foreground before the Wild West next-the-campfire harmonica pushes its way in. Did Zelda have her computer break down or her keyboards taken away? At least there is an effort, as lame and half-hearted as it is, to express some "happiness" here. But the question I must ask is, Why? (8.75/10)

9. "Rarity Dozing in a Coffee Shop at 1AM" (2:29) an artist caught up in some introspective piano pseudo-classical improvisation. (4.375/5)

10. "Say What You Want" (3:26) now here is the voice that Pony has allowed us to get used to over the previous albums, only here it is continuing to project and perpetuate the feeling that this individual is on the edge of checking out of this human life. (8.875/10)

11. "That Feeling I Get in My Heart" (3:30) a little in-room party? I'm encouraged! And her lovely happy voice escapes for us to hear in the final minute. Is healing occurring?! Probably my third favorite song.(9/10)

12. "Polaroid" (3:24) do I detect a little life shining forth from our little shut-in? Maybe she created this as she was coming out of one of her drug-induced stupors. It has the beautiful voice that Zelda has let us come to identify her with in the past (as opposed to the monotone of her depressive andro-self.) (8.75/10) 13. "Every Little Thing She Does" (3:15) soulful dub-step drums and deep bass beneath ukelele soloing. Herbie synth soloing joins in during the second minute. Then a recorded-from-television voice-over from a My Little Pony scene enters to express the typical carefree confident personalities of that show. But then Vylet's two voices: depressive andro and sultry female join in to sing together, side by side, as if to show us that the two can live and work together as one. Interesting! (8.875/10)

14. "Comets" (3:06) gentle, pensive pseudo-classical piano noodling over spacious strains of synth strings. The strings begin to populate and swell in the third minute before dropping away for Pony's Joe Hisaishi/Miyazaki-like finale. (8.875/10)

15. "Trails" (3:07) bedroom-recorded guitar chord strumming with ukelele noodling over the top and a few vocal "oohs" and "you"s from our reluctant andro hero. I feel the healing spirit of Toby Driver here. (8.875/10)

Total Time 51:09

Overall, this album's music sounds like the music an 18-year old heavily-sedated hikikomori might compose in the confines of their own bedroom. Why the individual is choosing this severe withdrawal from the "outside" world seems, if I had to guess, to have something to do with family dynamics--possibly denial of traumatic/triggering patterns. Whether the drug use is medicinal or self-selected for the numbing effects it is definitely dampening the individual's capacity for excitement and reactivity. Even the sound engineering of these recordings are so much less polished and "cared for" than anything Pony's done before--which is disappointing since her previous penchant for pristine sound production and seemless flow from song to song has been one of the qualities that has impressed me to no end. My issue here, however, is not with the artist's freedom and ability to grow and change forms of expression but with the attitudes and vibe being offered the world through this album's music. It's touching, it's introspective, but it's also full of selfishness, manipulative self-pity, while still oozing with such extreme talent--talent that flows through this being with such effortlessness and ease that it almost seems wasted--especially in light of all of the AMAZING music Zelda has conjured up before this! But then, I have to argue that THIS IS STILL GREAT MUSIC! It's just so simple and feels as if so little effort has been put into its creation--which just goes to help prove my previous point: that HIGH QUALITY music just flows through Zelda: she barely has to try and it still comes! Again I must temper my judgments, deductions, and suppositions with the disclaimer that I am only projecting from my own life experiences and understanding of the trials and tribulations afforded the human condition: I do not know Zelda. I love the way in which she chooses to process her self-discovery through music and then so bravely chooses to share them with the public. We are SO fortunate--and I feel ever so grateful for the gift of having been led to her music. And, yes, I understand that this was Zelda in her nineteenth year and that all 18-year olds have shit to work through. I guess my reaction to her music (and this album) are mere testaments to the power of her ability to convey her "place" in the world at the time of the composition, recording, and publication of her music.

B/four stars; an excellent if depressing and less-than-expected low-energy effort of songmaking. Vylet Pony is in an extremely introspective state: Please do not disturb!