Not Wild, But Tame
A title like Wild Onion may remind you of something zany and strangely pungent. Or if you’re into botany, it might remind you of the plant. Regardless, Twin Peaks’ latest record, Wild Onion, somehow attaches itself to these attributes (besides the wild onion plant). Bold, frayed guitars act as a second or third dialogue for the songs, giving the tracks an added tongue-palette trigger, an “oomph” that irks listeners in a stimulating way.
The track with the most “singles chart” potential is “Sloop Jay D.” A catchy hook on the guitar headlines the song, as they do on most tracks on this album. Another track, “Fade Away,” seems fitting to be played while bombing down hills on a longboard. It’s as if the members of Fidlar got together on a Sunday and recorded a b-side track.
Their last album was greeted warmly by critics: A bunch of young dudes making listenable guitar jangling rock. Compared to their last, Wild Onion does more or less the same when it comes to originality, and trying new things. Although their vibe on the record suggests that this music be played loud and with your pals around, Wild Onion shouldn’t be called “wild” – it’s not. It’s much more tame than that.
Like most albums, there are some standouts, making the record memorable. Songs like “Sloop Jay D,” “Stranger World” (note the saxophone) and “Strawberry Smoothie” are like the tall, overhanging light poles that guide you down the highway.
This album isn’t a jaw-dropper. It’s solid, and it’s what we expect out of Twin Peaks. Hopefully their next release will take more than an eye-catching title, perhaps something tamer? Maybe not too wild.
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