Indie guy goes avant-garde

Richard Reed Parry is a Canadian multi-instrumentalist who is best known for his role in the critically acclaimed indie rock band, Arcade Fire. While he’s not as outwardly charismatic as frontman Win Butler, he was integral in sculpting their sound. But apart from his work with Arcade Fire, Parry has accrued a considerable portfolio, boasting collaborations with artists such as the legendary indie-rock/pop band, The Unicorns, and the kings of melancholy, The National. However, aside from contributing tracks to various compilations, it wasn’t until the fall of 2018 that he released his first full-fledged solo album, Quiet River of Dust Vol. 1. Primarily inspired by Japanese death poems and British folk music, Parry crafted a surreal excursion through a synth wash-laden soundscape, a fairly noticeable departure from anything Arcade Fire has done up until this point. As indicated by the title of his last album, Parry had more in store; and sure enough, he dropped the follow-up, Quiet River of Dust Vol. 2: That Side of the River, on June 21st of this year.

Whereas Vol. 1 embraced a bit more of an ethereal aesthetic, this record feels more succinct and recognizable. While there are certainly moments of experimentation and indulgences in ambiance, several of the songs on Vol. 2 are more refined, with clearly definable song structures. While this certainly makes it a more accessible record than its predecessor, it also takes away some of what made the previous installment so enthralling.

Track four, “Where Did I Go,” is a prime example of this; an eight-minute-long song built upon a constantly repeating drum beat, psychedelic passages of glimmering synths punctuate its verses, various instruments weaving in and out of the mix, along with some wayward vocalizations. If the song were half the length, or cut into two distinct sections (one as a structured song, the other being ambient-centric) it would have been one of the strongest cuts on the album; but as it stands, the song begins to meander somewhere around the five-minute mark.

Apart from the death poems and whatnot, there is some very substantial Brian Wilson influence at play on this record, particularly when it comes to some of the vocal harmonies. Nowhere on this album is it more apparent than track nine, “A Few Last Things,” which is imbued with Surf’s Up-era Beach Boys vibes. However, while many indie artists often pull from the well of Wilson’s musical genius, Parry manages to do so in a way that doesn’t feel derivative at all. Instead of merely repackaging Wilson’s ideas (i.e., The Explorer’s Club,) he uses them as a blueprint to craft his lush harmonies.

The zenith of this album is undeniably its closing track, “Long Way Back.” While this song was available for streaming before the album’s release, it really should be heard in the context of this album to get the full effect. As a stand-alone song, it’s a fantastic slice of indie music: a sprawling anthemic journey of dense instrumentation which coalesces around a simple vocal refrain of “it’s a long way back,” set in waltz time. But when listened to in conjunction with the rest of the album, it becomes apparent that there was a subtle momentum underlying these songs, and the most potent elements from all the other tracks are in full effect here.

While Quiet River of Dust Vol. 2 might not feel as consistent as its predecessor, it’s worth a listen, if to experience the majesty of its final five minutes. Fans of Arcade Fire should be excited about this one, and hopefully, Parry’s influence will show through a little more on their next release.