Review Summary: Every moment we're together makes me hope it lasts forever
Folks, it’s been a long time.
The Avalanches are an Australian plunderphonics group formed in 1997. Their first, and thought to be their last, album
Since I left You was a critical and commercial success when it was released in 2000. Many consider it the best album of that decade, certainly of that year.
And now, almost 16 years after the fact, we finally have our follow-up record. Not an EP or a live album, but a true successor to their landmark debut. The 21-track, 58-minute long
Wildflower.
Wildflower (much like its predecessor) has a “one-continuous-song” flow to it, with each sample meshing with the next, and each track leading perfectly into each other. Because of this, listening to the album should be done as if all the tracks were a single entity.
After a brief prelude with “The Leaves Were Falling,” the album kicks off with “Because I’m Me,” a spectacular opener that is a perfect example of what the Avalanches are known for: Sample-laden electronic music that makes you want to get up and groove. Sadly, despite me liking this song immensely, the main trouble with
Wildflower begins to develop on this very track with the inclusion of a feature by hip-hop duo Camp Lo. Now, before you hip-hop fans jump on me, I should note that I actually like their work here. They have a good chemistry with the track, the verse is fairly well-written, and it definitely fits the tone of elation the song is striving for. It's just... out of place here.
Let me explain.
You see,
Since I Left You was notable for creating entirely new pieces from preexisting ones. The initial draw of the band was how each individual sample played a role in creating a new work of art. Like snipping pictures out of a magazine to use in a collage, the Avalanches could string together an entirely new song from the parts of several preexisting ones. This time around, the samples and instrumentation are now forced to share the spotlight with yet another factor: features. Guest appearances include Camp Lo, Toro y Moi, Jonathan Donahue, Biz Markie, Jean-Michel Bernard, Ariel Pink, Father John Misty, and many more. Let me be clear, it's not that I dislike any of these artists. In fact, I've enjoyed the work of many of these artists in the past. It's just that on an Avalanches record, one that already has a lot going on, the addition of features just makes it feel cluttered. Sure the argument could be made that the features can be thought of as just another instrument for the Avalanches to tinker with, but the way they are strewn about the album just doesn't sit right, like they were an afterthought or a last-minute inclusion. Instead of enhancing the positive qualities these tracks already have like a good feature should, they detract from them. This is especially true on songs like “The Wozard of Iz” and “Live a Lifetime Love;” whenever I hear them, I can't help but feel they would have benefited from letting the mix speak for itself, or dialing back even just a little bit.
From the second track, we move to the album's big single "Frankie Sinatra," sporting guest spots by Danny Brown and MF Doom. The song, while far from my favorite on the album, does have an infectious quality to it that just makes a fine choice for a comeback single. A bit safe, but that's to be expected after such an extended absence. From there, we move on to more comfortable territory with the disco/funk stylings of "Subways" and "Going Home," and then to the serene beauty and plucky guitar of "Colours" (featuring Jonathan Donahue of Flaming Lips and Mercury Rev fame). One of the more interesting entries on the album, "The Noisy Eater," harkens back to some of the group's earlier work ("Run DNA," "I'm Taken"), while simultaneously raising the stakes by having Biz Markie and Jean-Michel Bernard featured on it. While I'm not sold entirely on including features here, even I can look past that for such a glorious match-up.
As you go down the tracklist, you begin to notice a lot of shorter tracks. The Avalanches are no strangers to interludes sprinkled about their albums, but in my opinion,
Wildflower takes this lenience listeners have come to expect and starts to border on unnecessary. Short vignettes like "Zap!," the titular "Wildflower," "Park Music," "Over The Turnstiles," and "Light Up," while not necessarily bad, do feel inconsequential. I wouldn't go as far as to call them filler, but they do seem to collect towards the middle of the record as filler tends to do. This mid-section then leads into the the album's weaker second half. I say weaker, but there are a few outliers: the seaside feel of "Livin’ Underwater (Is Something Wild)" and the upbeat "Sunshine" in particular. With the exception of the aforementioned tracks,
Wildflower's 2nd half seems to be more concerned with acquiring a dream-like ambiance to close the album out with so that it lines up with the intro track for cyclical listening, which I can respect artistically. Choosing "Kaleidoscopic Lovers," "Stepkids," and "Saturday Night Inside Out" to be the final 3 tracks of the album is strange, since
Wildflower felt like it was building up to something extravagant and lavish, but it instead opted for a quieter, more dignified exit. What I get from this is that the Avalanches are more than willing to leave the populous wanting more. After almost a decade and a half of waiting, what better way to end their follow-up record than with a display of stunning confidence; a message that aims to tell listeners: "we're not done just yet." Now, this is just speculation, but if that was their intent, then consider me hooked.
Wildflower sets out to be a joyous celebration of vibrant streamers, parade floats, and plenty of vodka. And while I may not agree necessarily, the album is incredibly infectious and is sure to make any downcast day just a bit brighter. To me however, I see
Wildflower more like one would flip through one's old family albums to find those vacation photos you cherish so much. As anyone can tell you, taking the perfect picture is near impossible. But no matter how flawed those photographs turned out, they always take you back to that moment, that wonderful moment where everything was alright and everything felt wonderful. For some, holding that photo in your hand is sometimes just as gratifying as actually being there. Here's to hoping that moment lasts just a little while longer.
Welcome back, Avalanches.
