Playful yet surprisingly grandiose
Following their debut album Out of Love from six years ago, indie rock supergroup Mister Heavenly’s newest LP Boxing The Moonlight is playful, yet surprisingly grandiose. Engrossing the listener in a over 40 minutes of funk-infused sound, it’s perfect for a summer night in Los Angeles. There’s cohesiveness to the album despite the uniqueness in each song, creating an project that builds on itself rather than suffering from a lack of dimension.
Band member Nick Thorburn told Consequence of Sound that “it seemed like it was a good idea to pivot from the subject matter of the first record.” Out of Love was, unsurprisingly, based around the topics of love and affection; on Boxing the Moonlight, the group draws inspiration from the experimental genre of Krautrock as well as old school hip-hop to emphasize the grit. It makes the album much heavier than what fans may be used to, but the creators stay true to their identity even as they look to evolve their sound.
The intro track “Beat Down” is upbeat, simple, and classy folk rock. The singer croons about his desire to get lost and never be found, searching for a love to smoke him “like a cigarette.” Rooted in a relatable, realistic outcome (“No telemundo dramas here, I want to breathe in reality”), it’s reminiscent of an old school 50s rock song with refreshing modern lyricism.
“Blue Lines” is a country, bluesy cut accompanied by a consistent, almost annoying piano. The Western-influenced sound is dramatically different from the previous track, although there are brief jumps back to the folk theme in the beginning. Stagnant guitar riff placement lends extra aesthetic; fitting the lyrics about a needy dog craving attention.
“Making Excuses” sounds like an 80s synth pop dream, very summery with a strong California vibe to it. Talking about how living and partying in LA can become stale, the vocalist sings “I got work in the mornin’ think I ate somethin’ with poison.” Following it, “Hammer Drop” is folky and bluesy in the beginning for the first 45 seconds, and then a surf rock influence becomes apparent. The vocals then kick in, distorted and lo-fi influenced. It’s psychedelic and experimental with an electric guitar that accentuates the words being sung. “George’s Garden” is probably the most Krautrock song on the album. An industrial song, the track starts off slow, but picks up the pace about a minute in. We don’t hear vocals until about two minutes in, marking the more exciting stage of the song. It’s another homage to classic rock masked in synth, creating a rather danceable soundscape.
“No Floor” ends the run of happiness, using morose lyrics to make the listener feel the singer’s sentiments. The singer sounds nearly inconsolable as he loathes, “there is no ceiling, there is no floor, so low you couldn’t get much anymore.” But even with such a sad topic and feelings of disillusionment, the song is still upbeat. Well-timed choruses and background vocals make this track stand out, showing that it’s the little things that count.
“Magic is Gone” opens with a seductive guitar accompanied by equally seductive vocals. Two distinct vocal types bounce off of each other, one rough and rugged, and one that is not. “Pink Cloud Compression” is the most rock sounding track of the entire album, aggressive while still utilizing both a polished voice and a wavering heavy one. The subsequent “Crazy Love Vol. III” sounds like 311’s “Amber,” mixed with element of reggae and elements of orchestra in the back. Another standout, the lyrics keep it simple: “all you really want in life is a crazy love,” the vocalist sings, wasting few words while getting to the essence of his point.
“Dead Duck” is noisy, simple and plain. Lo-fi and distorted elements are cleverly mixed with moments of British punk rock, and the way the vocals whip around the guitar riffs is absolutely ethereal. “Out of Time” utilizes synthesizers differently than the rest of the album; it’s not a bubbly pop song. While it maintains simplicity, it has a much darker and eerier vibe. The vocals here are distinctly monotone, with moments where the vocals are layered, giving it a wholesome vibe.
Boxing the Moonlight has the potential to be on repeat for awhile. It would have been the perfect summer album to chill out to had it released a few months sooner, but it’s still the perfect album for a lengthy road trip. It’s unpredictable, upbeat, and pleasant, showing why it took Mister Heavenly six years to release the proper follow-up to their debut. It remains to be seen if it was worth the wait, but there’s no denying that its is some of the most dynamic music of the band’s career.
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