Wistful in the sea
Devendra Banhart released his new album Flying Wig on September 22, 2023. Often called the creator of ‘freak folk,’ Banhart includes a vast range of musical sounds in his albums. His lyricism strikes a balance between idealistic, poetic and wondrous, which creates a fantastical feel when combined with his instrumentations. Written while isolated in a cabin previously owned by Neil Young, the pieces on Flying Wig have slow-tempos that reflect this experience and elements that add a mystical flare which highlight the magic that can be found within the mundane.
The record kicks off with a muted bass drum, synth and waves crashing to shore in the song “Feeling.” There are occasional strums of electric guitar alongside Banhart’s calming voice, which is similar to the lead singer of the band Loving. Halfway through, his vocals, as well as the bassline and guitar, are brought to the forefront. The repetition of the bassline has a hypnotic effect similar to Tame Impala songs, whereas the guitar at the end makes listeners feel like they’re amidst a magical beach.
“Fireflies” starts with soft drums and distinct hissing of an electric drum cymbal. The lyrics “see you in a stranger’s eyes / and there’s so much I wish I could say / just a song I’ll sing anyway” adds to the piece’s melancholic and nostalgic tone. Banhart yearns for this reconnection until things end with muffled, distorted horns. “Nun” is more fast-paced yet still has a dream-like calmness similar to the band Unknown Mortal Orchestra. The piano playing nicely emphasizes and accompanies the bass guitar. The word ‘running’ is repeated towards the end with higher-pitched background vocals layered on top.
Consisting of plucks of a distant guitar and underwater vibrations, supported by the piece’s title, “Sirens” possesses a subtle funk. The soaring electric guitar three minutes in adds an extra ‘oomph’ sure to entice listeners. “Charger” is one of the most stripped-back tracks on the record and focuses on the striking imagery presented in the lyrics “everything’s burning down / but the grass is always green;” while the seventh piece “Flying Wig” points to isolation and intimacy. Gentle taps of electric guitar and aquatic-like synth come together as Banhart sings “abandon hope / of some other way / I’m not there, and yet / we’re never apart” and “I’m alone / dancing naked,” clearly honing in on the aforementioned themes.
“Twin,” the most popular track on the record, has a buzzing bassline and just the right amount of groove. The claps present during the chorus and repetition of lines contribute to the song’s jive, but the juxtaposition between the instrumentation and lyrics creates a conflicting tone. “Same no way out / same infinite doubt” and “same fear to face / same bitter taste” makes the song fit more into the album’s atmosphere. Concluding with “The Party,” which is composed of multiple synths weaved together alongside subdued guitar, this piece is the most stripped-down track on the album. While the title suggests a fun, lively party, Banhart subverts expectations with the lyrics “I go to the party / but it don’t go to me.”
The dreaminess of Flying Wig will transport listeners to a bittersweet, whimsical headspace full of introspection with a slight touch of optimism. Banhart’s minimalistic approach to music makes room for his expressive lyricism and allows subtle shifts in his scores to truly shine.
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