The “Siren of Avant-Pop” delivers again
Alex Lilly is not afraid to go against the grain. Those familiar with the LA-based artist know she has always embraced the strange and whimsical, gathering bizarre ideas like a proud collector of overlooked oddities. While some listeners may label her music as a cacophony of dissonant harmonies, complex grooves and on-the-nose lyrics, Lilly has made a beautiful home among the unconventional.
A singer and instrumentalist, Lilly’s talents have landed her touring gigs with Lorde, Beck and the Bird and the Bee. She also joined the latter’s vocalist, Inara George, as the fourth member of The Living Sisters, served as the lead vocalist for Obi Best, and contributed to Touché and Buddhist punk band Zero DeZire. Her debut album, 2% Milk, an infinitely quirky avant-pop album, brought forth eccentric tracks like “Confucius Says” and “Distracting Me”, while her single “Paranoid Times” featuring Tre Hardson has surpassed well over half a million streams on Spotify. Similarly, Repetition is a Sin (via Release Me Records) introduces some of the artist’s strongest and most compelling tracks yet.
Listeners are immediately thrust into a colorful, dreamlike world by way of an endearing piano intro. The album opens with lead single “Pure Drivel” — a groovy electro-pop track with tongue-in-cheek lyrics and an enrapturing vocal hook. Using books as a symbol to call censorship and conservative views of sexuality into question, the artist sings, “I know you canceled all your plans, so come over, let’s read some books that got banned.”
Inspired by predecessors Kate Bush and XTC, the album fuses familiar organic instruments like piano, acoustic guitar, and horns with a surreal universe of synthesizers, drum machines and warped samples. Lilly’s love of music theory certainly shines through in unorthodox note choices, harmonies and rhythms. The result is an ever-evolving, psychedelic texture that supports clever, snappy lyrics and doesn’t sacrifice popular appeal.
All eleven tracks hold their own with plenty of memorable moments. A mellow synth carries a sonata-like chord progression atop a skittering breakbeat in “Frank”, one of a few poignant tracks contemplating the afterlife. The musing artist admits, “I don’t want to go to heaven … no one will be getting plastered with me in the air” and imagines reuniting with her friends (and dead cat) in the underworld. The bewitching and ethereal “Spirit” opens with a chopped-and-sampled beat and a tight trombone section harmonizing in the periphery. Charming, stripped-back tracks “Rosalind” and “Built For Chaos” provide perfect opportunities for dynamic contrast among groovy tracks like “Human” and “Melinda”.
Even among fascinating feats of music production, Lilly’s songwriting is possibly the most remarkable element of all. The lyrics deal with heavy topics — the afterlife, self-image, sexuality, religion and human nature — yet, the artist certainly doesn’t take her work too seriously. There’s a refreshing satire and disregard for political correctness that brings forth a lighthearted, genuine tone perfect for approaching such topics. Not for the faint of heart, Lilly’s one-liners could leave an open mic in flames and probably crack even the most stone-faced listener; fellow songwriter Bo Burnham comes to mind in this regard. Lilly’s songs could fill up an Adult Swim commercial break with lyrics like “love muscle’s getting buff”, “sexy Puritan” and even a jab at The Great British Bake Off. Despite these silly quips — actually, because of them — the underlying messages are especially captivating.
Never too driving or intense, Repetition is a Sin is laid-back and off-center, combining both familiar and fantastical into an outstandingly innovative record. Avant-garde listeners seeking ingenuity and individuality will certainly find it in Alex Lilly’s sophomore album.
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