Where will love lead?
Jeffery Paradise, more well known as Poolside, recently debuted his fourth studio album Blame It All On Love. The combination of Poolside’s ethereal vibe and nu-disco influences makes for a danceable and hypnotic listen. This release features an array of vocalists, ranging from slenderbodies to Ben Browning to MUNYA, who all perfectly match the record’s tone with their soft yet impactful voices. Blame It All On Love explores romantic relationships in a way that feels like being held by a trusted friend, rather than being thrust into it all alone.
The record kicks off with “Ride With You,” starting with smacks on a drum. Soon after, a funky beat takes over with a groovy bassline and high-pitched synth. Ben Browning’s distinct vocals are heard in this song. His versatility and range particularly stands out when he sings “Fall asleep on the highway / You want to do it my way / I want to do it anyway / As long as it’s with you.” Both acoustic and electric guitar have their time to shine throughout the piece, which adds to the calming energy. After the second verse, airy ahs are heard, further adding to this feeling.
Acoustic guitar introduces listeners to the next track, “Float Away.” Vocals almost immediately come in, the bassline following. The chorus consists of a relaxing, nearly sultry instrumentation and Josh Augustin’s of Vansire talk singing. The rhythm is instantly catchy from the first lyrics of the chorus “Rowed right back into the bay / Because you won’t write back, what can I say?” Xylophone-like synth is added in the final chorus, making for a tropical feel, along with electric guitar riffs and layers of vocals that add much interest.
“Back To Life” features Panama’s soft, wispy voice and light yet impactful percussive elements. Slightly distorted piano and syncopated bass creates a jazzy atmosphere. The hypnotic Tame Impala-esque lyrical patterns seem simple but are extremely effective in setting the tone, specifically on “I don’t want to lose you, in my mind adore you / If it’s just a moment that myself could believe.” The tempo slows down after the final verse, and eventually the beat drops during the bridge. Each aforementioned element is brought back together to create something danceable and pleasing to listen to, up until the end of the song where the piano riff is spotlighted and shimmering chimes add a magical charm to the soundscape. With all these aspects considered, it is easy to see why this is the most popular song on the record.
Futuristic and ’80s-like sounds come in at full swing in “Moonlight.” The drum beats are sharp, meanwhile synth descends in pitch with each hit of the snare. The choral synth during the second verse adds a sense of agency and epicness while Paradise plucks away at the electric guitar, which highlights the band’s disco influence. “Each Night” is a standout on the album and opens with cosmic twinkles that could be featured in a movie about space. Then, Mazy’s vocals enter. The chorus is equally as dreamy, and the slight change between the first and second versions only add to this effect. The different “ha” and “ha-oh” vocalizations keep listeners guessing as to what may be added next. Before the final refrain, there’s an instrumental break where synth, drums and bass take center stage, each creating room for the other. The piece ends with chill-inducing harmonies. “Each Night” is a song that allows listeners to kick back and imagine their most ideal life.
Hypnotizing synth and mysterious percussive elements are present in “Hold On To You.” The lead singer of slenderbodies, Max Vehuni, has a delicate and lowkey voice. The rhythm and subtle instrumental changes make the piece feel fresh. The song closes with Vehuni’s fast yet calming vocals that maintain the groove, even after all the instruments fade out. The final song “Lonely Night” begins with playful, video game inspired instrumentation but then shifts to a beachside sound. MUNYA and Paradise’s velvety voices take turns singing verses and intertwine in the chorus. The song closes with twinkling synth and MUNYA’s improvised vocals, and the record concludes with faint static that imitates waves crashing down to shore.
Blame It All On Love has songs that fit a variety of moods and experiences that come along with romantic love. The flow and funk present in the tracklist is undeniable and will leave people bobbing their heads as they sit back and relax.
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