Neon Indian Fallin in Love Again
| Era Extraña | ||||
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| Studio album by Neon Indian | ||||
| Released | September 7, 2011 (2011-09-07) | |||
| Recorded | 2010 – 2011 | |||
| Studio |
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| Genre |
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| Length | 42:27 | |||
| Label |
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| Producer | Alan Palomo | |||
| Neon Indian chronology | ||||
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| Singles from Era Extraña | ||||
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Era Extraña is the second studio album by American electronic music band Neon Indian. It was released on September 7, 2011, by Static Tongues and Mom + Pop Music. The recording took place between the winter of 2010 and 2011 during frontman Alan Palomo's visit to Republic of finland. Containing influences and elements of psychedelic pop, shoegaze, and new wave, the anthology has the same summery sound as the band's debut studio album, Psychic Chasms (2009), only with a darker and more serious tone.
Era Extraña received more often than not positive reviews from critics, a number of whom called it more than focused, tight, and cohesive than Psychic Chasms, while some praised the songcraft. Even so, some mixed reviews noted that on this anthology, Neon Indian lost much of the charm that was apparent on Psychic Chasms. The album peaked at number 74 on the The states Billboard 200, the band's first release to appear on the chart. The ring toured Northward America from December 2011 to May 2012 to promote Era Extraña.
Background and production [edit]
The anthology was recorded from the wintertime of 2010 to 2011 at Kalevankatu 45 in Helsinki, Finland, when Palomo lived there for iv weeks.[1] [ii] Palomo primarily wrote the album using a Voyetra-8, a Korg MS-20, and a modified Commodore 64, with the starting time weeks of production in Helsinki involving him learning this equipment. Palomo first saw the Voyetra-viii in the music video for New Order'due south "The Perfect Kiss" (1985), saying that he was amazed by its appearance: "Information technology'due south this bizarre, kaleidoscope interface with these knobs, and it's really physical to apply, a foreign kind of challenge."[3] Palomo's songwriting on Era Extraña was more than influenced by his live performances than his previous projects, and he claimed that he had never expected to perform his songs live before. He said that "it was an influence; non so much something that express me, but a feeling that lead to longer, more than soundscape-driven songs. That was something that was undeniably in my mind: 'What would I want to exist playing every dark for eight months?' And the anthology evolved from at that place."[iii]
Unlike Neon Indian'south debut studio album Psychic Chasms (2009), which involved creating "microloops" via building up one-bar samples into multiple bars that would make upwardly a full vocal, Palomo said that in composing Era Extraña, he recorded a riff from a sound he made and tried to "continue that momentum upward".[3] For Era Extraña, in order to develop ideas he was having while recording the record, information technology was necessary for him to have more control of the effects and instruments he was using for the anthology. Making the anthology helped him learn how to create synth sounds and become a "gear geek", instead of relying on presets as he did with his previous works.[3] He said that "the more than boring aspects of production do have the capacity to take the wind out of your sails, so you ever have to navigate through that as chop-chop as you can before you lot offset feeling burnt on the song, before you forget that initial spark that fabricated yous even desire to write it in the first identify".[3]
The title plays with the different meanings of the word "extraña": although it straight translates into "strange", it besides means to "command the act of longing".[4]
Limerick [edit]
Era Extraña is significantly influenced by psychedelic popular, shoegaze, and new moving ridge.[five] [six] Clash reviewer Nick Levine described the album equally a loud indietronica record and "chillwave that's not actually that, well, chilled", joking that its genre should be marked equally "drillwave".[seven] The instrumentation is chaotic with unsteady synth arrangements, likewise every bit stray sounds of rocket-send noises, phone conversations, laser sounds, and visceral samples of video games, but the music even so manages to exist tight.[viii] Every bit Drowned in Sound reviewer Robert Cooke explained, the retro video game samples are used as "incidental noise, or miniature musical experiments", and Era Extraña also includes the "sparkling synths and wide-eyed wonder" of M83's more than pop-sounding textile that makes it audio similar "a soundtrack for an Eighties teen flick about surfers from infinite" rather than simply "Nintendo-sponsored masturbation".[9] Spin reviewer Nick Murray also compared some of the songs to M83, while describing other tracks as "one Martin Rushent assistance away from existence genuine synth-pop hits".[10]
Era Extraña has the aforementioned "lazy summer experience" as Psychic Chasms, but with a more serious and slightly darker tone.[11] In a PopMatters review, Nathan Wisnicki said that Palomo'south introversion is "certainly apparent", citing that even the album'south most blithesome melodies are "rigidly grafted to both rhythmic thrust and hooks more anxious than comfortable".[12] Pitchfork 's Larry Fitzmaurice said that the anthology is much more serious than Psychic Chasms, but "Palomo isn't always as assured in rendering the darker fabric". He also noted that while Era Extraña is not exactly a breakup album, information technology does sound "romantic and lovesick" and uses sounds that emulate these feelings.[8] At the same time, the album likewise feels "expansive and lonely, similar someone staring at the dark sky in confinement".[8] Era Extraña likewise contains the same unsteady synth riffs, filtered drums, and vocal hooks as Psychic Chasms, with the improver of crunchy, fuzzy guitars; thick analog synths; and a lot of reverb, besides as much clearer production.[6]
Songs [edit]
Era Extraña is connected by 3 brief, wispy instrumental interludes:[13] "Heart: Set on", "Heart: Decay", and "Heart: Release".[xiv] "Attack" opens the album "like a 200-foot-tall Game Boy loading upward", co-ordinate to Cooke.[9] It starts with the audio of 8-bit particles coming to a "angelic boil" in the first few seconds, followed up by "what the birth of the universe must have sounded similar had the Big Bang occurred inside the original Nintendo Amusement System", co-ordinate to Paste critic Wyndham Wyeth.[11] "Decay" starts the "it-has-to-become-worse-earlier-it-gets-better" stage of the post-breakup period that is explored on Era Extraña, while "Release" ends the album with relief, yet also a fearful first stride forward from a breakup.[xv] Heather Phares of AllMusic said that out of all of its songs, these three tracks, along with "Future Sick", sound the most similar to Psychic Chasms.[13]
Fitzmaurice found "Smooth Girl" to be similar to the vocal "Reunion" (2004) by Canadian band Stars, seeing a resemblance to its theme of someone trying to recover, and yearning for, young beloved.[16] Palomo asks questions in the song that are likely to exist unanswered, such as "Do I nonetheless cantankerous your mind?/ Your face all the same distorts the time".[16] Cooke noted the "dazzling syncopated pulse" to exist similar to the coin sound effect in games from the Mario series, while observing melodies that "splash and slide around sickly-sweet flurries of arpeggios and a family unit-friendly experience-good shell".[nine] Parry Ernsberger of Blurt said that the song includes what sounds like samples from the game Super Mario World (1991), and has the "euphoric free energy" of Cut Copy's album Zonoscope (2011).[17] Beats Per Infinitesimal writer Aurora Mitchell said the song "sounds like 80s disco distorted through an quondam computer",[18] while Phares noted the song sounds more like Palomo's other project Vega than Neon Indian.[13] "The Blindside Kiss" includes elements of alternative rock, grunge, and garage rock.[xviii] [19] Club Fonograma author Blanca Méndez said that "The Blindside Osculation" is nigh the "staying-calm-and-staring-at-ceilings early phase" of a breakdown, which is "the one in which yous permit yourself to wallow in the pain considering y'all deserve at least that much". Méndez noted the vocal's "tinny layers of audio" and Palomo'south "breathy, almost frustrated vocals".[15] The electro-shoegaze song "Hex Girlfriend"[xiii] addresses an ex-girlfriend,[15] and includes video game synth timbres similar to those on Psychic Chasms opener "(AM)".[19] Both "The Bang Kiss" and "Hex Girlfriend" are filled with "buzzsaw"-toned guitars, which BBC Music'south John Aizlewood compared to the Jesus and Mary Concatenation.[fourteen]
The Depeche Mode-style[17] "cavernous Anglophile disco"[20] song "Fallout" is about trying to forget a failed relationship, with Palomo request the subject to "please let me fall out of love with yous".[15] Palomo sounds unreachable on this song, like "a alone planet boy sending out distress signals from the saddest corner of the solar system", said Rolling Stone critic Jon Dolan.[20] Wisnicki said in that location is "a haunting vagueness" to the dull pace, with the vocal'due south "subtle synth-disguised-as-choir tactics used to help the song pause unexpectedly from slow Joy Division-esque pummel to a span that reaches into elation...if only for a few seconds".[12] DIY 's Dani Beck and Derek Robertson said that the track sounds similar music for the opening credits of a tardily-nighttime Arnold Schwarzenegger B-moving-picture show,[21] while Phares stated information technology could have been recorded by Dear and Rockets or Baton Idol dorsum in the 1980s.[thirteen] Both "Fallout" and "Halogen" contain dramatic keyboard riffs inspired by the music of Duran Duran.[5] The championship track represents a first post-breakup sign of hope.[15] Dramatic, clattering drums are present on the track,[v] and musicOMH reviewer Ben Hogwood compared its heavy, house beat to Ultravox's "Vienna" (1981).[22] Aizlewood noted that the song resembles "Out of Touch" (1984) by Hall & Oates.[14]
The three following songs, "Halogen (I Could Exist a Shadow)", "Future Sick", and "Suns Irrupt", follow three different types of forgetting a breakdown. Reminiscent of music released in the New Romanticism period,[23] "Halogen (I Could Be a Shadow)" was described by Méndez equally "a spectacularly enveloping piece," with its somber instrumentation of "steady, comforting percussion, delicate, inviting synths, and vintage girl group-evoking background vocals" resulting in "a gorgeous vessel for ecstatic release".[fifteen] Fitzmaurice described "Halogen (I Could Be a Shadow)" equally the "virtually-double" of "Kim and Jessie" by M83,[eight] whereas Aizlewood compared the song to the works of the Thompson Twins,[14] while Phares said it sounds like music that would "play over the credits of a sci-fi teen sex comedy".[thirteen] With its "seasick synths"[eight] besides as "bits of arena rock guitar and girlish harmonies", the heavy,[12] playfully lamentable "Hereafter Sick"[13] manages to convey "the feeling of growing older in a world that's growing faster than you are".[8] It depicts Palomo lamenting "mid-book nether his own creation's drunken abstraction" about wanting to go back into the past, considering thinking of the time to come is making him ill.[8] [15] At this point, co-ordinate to The Observer 's Killian Fox, some of the wooziness that Era Extraña takes from Psychic Chasms "veers into nausea".[24] Mitchell described the instrumentation of "Suns Irrupt" as "hypnotic and firework fizzling synths with a woozy synth background".[xviii] Palomo repeatedly whisper-growls the line "Suns irrupt / I wake upward I wake up",[18] and Fitzmaurice compared its repetitiveness to "Someone Great" (2007) by LCD Soundsystem.[8]
Release and promotion [edit]
Three singles were released from Era Extraña: "Fallout", on July 27, 2011;[25] "Polish Girl", on August 3, 2011;[26] and "Hex Girlfriend", on May 28, 2012.[4] The anthology was starting time released in Nihon on September 7, 2011.[27] The limited edition package came with the Pal198X, a mini analog synthesizer created past Palomo and the company Bleep Labs. With iii oscillators, including two triangle waves and a square low-frequency oscillator, information technology is a modified version of the company's synth kit Pico Paso, with the addition of swappable controls.[28] Era Extraña was the first Neon Indian album to appear on the U.s. Billboard 200, reaching position 74.[29] It also charted on the aforementioned magazine's Independent Albums,[30] Top Culling Albums,[31] Dance/Electronic Albums[32] and Top Stone Albums.[33] Exterior the United states of america, the album also charted on the Japanese Albums Oricon chart.[34] A 42-engagement N American tour for Era Extraña was announced on December 6, 2011. It premiered on December 31 at the Lights All Nighttime festival in Dallas, Texas, and ended with a prove at New York City'southward Terminal 5 on May 12, 2012.[35]
Reception [edit]
| Aggregate scores | |
|---|---|
| Source | Rating |
| AnyDecentMusic? | 7.ii/10[36] |
| Metacritic | 76/100[37] |
| Review scores | |
| Source | Rating |
| AllMusic |   [13] |
| The A.V. Club | B−[23] |
| Disharmonism | 8/x[7] |
| NME | viii/10[38] |
| The Observer | [24] |
| Pitchfork | vii.9/x[viii] |
| PopMatters | 5/10[12] |
| Rolling Stone |  [20] |
| Spin | 7/10[10] |
| Tiny Mix Tapes | [39] |
Era Extraña was met with generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 76, based on 27 reviews.[37] Based on their assessment of the disquisitional consensus, information technology was given vii.2 out of 10 on AnyDecentMusic?.[36]
Some reviewers praised Era Extraña for being more focused, tight, and cohesive than Psychic Chasms.[8] [eleven] [13] [xl] Phares said that while it does not have the same homespun charm as Psychic Chasms, the album proved that the project could be more than than just a chillwave group.[13] Fitzmaurice called it "a delivery to tighter, broad-reaching songcraft and appeal", also praising the "kitchen-sink arrangements" for nevertheless sounding "taut and defined".[8] Wyeth said that Palomo made a fluid album with Era Extraña, something intended merely not properly accomplished on the project'southward last studio album.[eleven]
Hogwood called the album a "fascinating listen, borne of a man who clearly has an extremely agile imagination". He praised the hooks, the witty and thoughtful lyrics, and the unpredictable harmonic structures, also noting that the album turns the building blocks of the tracks from the terminal album "into very appealing little morsels", aiding listeners with curt attention spans.[22] In Consequence of Sound 's 4-star review, Mohammad Choudhery wrote that, while Psychic Chasms was "a shy and fragmented collection of songs", a product of the bedroom product era, Era Extraña is "a confident, all-inclusive album" that the public wouldn't be able to "fence into a unmarried, airheaded-titled subgenre".[5] NME critic Anne T. Donahue labeled the anthology as "a lesson in how to execute electronic music properly".[38] In Mitchell'due south 79%-rated review, he called Era Extraña "electronic [music] in its purest form". He said that the flow of the album is not equally polish every bit Psychic Chasms, just that Palomo's influences are "in all the right places and it seems that [he] is wearing them proudly on his sleeve".[18]
Aizlewood constitute Era Extraña to be an intriguing yet unusual record, but disliked the lack of "obvious emotion", calling the album overall "piece of cake to admire only hard to beloved".[14] Tiny Mix Tapes 's Guy Frowny chosen it "an agreeable listening experience with moments of catchiness and beauty throughout, and hints of an evolutionary path that leave future expectations open-concluded".[39] Dolan saw the album as an improvement on Psychic Chasms and said information technology dunks "dreamy early-MTV haircutband balladry in layers of psychedelic schmutz, almost hiding splendid songs in the murk".[20] Olly Parker, a reviewer for Loud and Quiet, also noted an improvement and praised the album'south songcraft and interesting sound, but said it fell in the "meh" category and "tin't get below the surface".[41] Cooke opined that "information technology has a lot to offer effectually the edges, but is difficult to truly connect with at its core", reasoning that the album is non the best example of cutting-edge modern-day pop music, nor does it contribute anything new to electronic music.[9]
Some reviews were more mixed. The A.V. Order critic Steven Hyden wrote that while Era Extraña sounds "fuller" than Psychic Chasms and "still has plenty of hooks to offer", Palomo "has to accept both anxiety out of the bedroom to movement his music forwards". He besides compared it to some other chillwave album that was released a few months before, Done Out's Within and Without, saying, "Where Within is an immaculately conceived graduation from [Ernest] Greene'south early on lo-fi work, Extraña is a minor refinement that still feels chintzy in places."[23] Beck and Robertson also discussed Washed Out, likewise as Toro y Moi, dubbing the anthology an unfunny parody of chillwave and also criticizing information technology equally "such a strong homage to everything that'due south absurd about retro-chichi that yous can't help but smell a rat".[21] At PopMatters, Wisnicki wrote that Era Extraña does not have the same quality tunes and aesthetic as Psychic Chasms, declaring that while each song on Psychic Chasms "felt similar getting to open another piece of processed", Era Extraña "feels more than like opening one of those refrigerated boxed sandwiches from the grocery store".[12]
On year-end lists, Era Extraña came in at number 50 on Under the Radar's listing of their top 80 albums of 2011,[42] and number 16 on Stereogum 's list.[43]
Track listing [edit]
All tracks are written past Alan Palomo, except where noted.
| No. | Championship | Length |
|---|---|---|
| 1. | "Centre: Assault" | 0:59 |
| two. | "Polish Girl" | 4:26 |
| three. | "The Blindside Kiss" (writers: Palomo, Joshua McWhirter) | three:35 |
| 4. | "Hex Girlfriend" | iii:eighteen |
| five. | "Heart: Decay" | one:46 |
| 6. | "Fallout" | three:34 |
| 7. | "Era Extraña" | 2:59 |
| viii. | "Halogen (I Could Be a Shadow)" | 4:37 |
| 9. | "Future Sick" | 4:49 |
| 10. | "Suns Irrupt" | 5:30 |
| 11. | "Heart: Release" | 2:07 |
| 12. | "Arcade Dejection" | 4:47 |
| Full length: | 42:27 | |
| No. | Title | Length |
|---|---|---|
| 13. | "Eras Ending Above Us" | 4:48 |
| 14. | "(AM)" | 0:25 |
| 15. | "Deadbeat Summertime" | 4:03 |
| 16. | "Laughing Gas" | i:43 |
| 17. | "Terminally Chill" | 3:34 |
| 18. | "(If I Knew, I'd Tell You)" | 0:48 |
| 19. | "6669 (I Don't Know If You Know)" | 3:21 |
| xx. | "Should Have Taken Acid with You lot" | 2:21 |
| 21. | "Heed, Drips" | 3:09 |
| 22. | "Psychic Chasms" | iv:06 |
| 23. | "Local Joke" | 3:27 |
| 24. | "Ephemeral Artery" | ii:52 |
| 25. | "7000 (Reprise)" | 0:57 |
Personnel [edit]
Credits adjusted from the liner notes of Era Extraña.[ii]
- Alan Palomo – product, arrangements, performer
- Dave Fridmann – additional product, mixing
- Claudius Mittendorfer – mixing (tracks 1, 2, seven, 8)
- Joshua McWhirter – guitars (tracks three, 5–7, 10)
- Adam Corbesmeyer – bass (rails 4)
- Jason Faries – percussion (rails vi)
- Jezy Grayness – guitar (track half-dozen)
- Aaron Brown – album art
- Ben Chappell – album art
- Rob Carmichael – layout, design
Charts [edit]
Release history [edit]
References [edit]
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- ^ a b Era Extraña (liner notes). Neon Indian. Mom + Pop Music. 2011. MP033.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d e Carew, Anthony (September vii, 2011). "Interview: Alan Palomo of Neon Indian". About.com. Archived from the original on Jan 12, 2012. Retrieved August 20, 2015.
- ^ a b "Neon Indian release new single 'Hex Girlfriend' May 28th". Circuit Sugariness. Archived from the original on September 27, 2021. Retrieved September 27, 2021.
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- ^ a b Fallon, Patric (September twenty, 2011). "Neon Indian Era Extraña". XLR8R. Archived from the original on September 21, 2015. Retrieved September 3, 2015.
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- ^ a b Murray, Nick (September 13, 2011). "Neon Indian, 'Era Extrana' (Mom + Popular)". Spin. Archived from the original on November 26, 2011. Retrieved Nov xvi, 2011.
- ^ a b c d Wyeth, Wyndham (September 12, 2011). "Neon Indian: Era Extraña". Paste. Archived from the original on September 24, 2015. Retrieved Baronial 22, 2015.
- ^ a b c d east Wisnicki, Nathan (October 2, 2011). "Neon Indian: Era Extraña". PopMatters. Archived from the original on October 12, 2014. Retrieved Oct 7, 2014.
- ^ a b c d eastward f one thousand h i j Phares, Heather. "Era Extraña – Neon Indian". AllMusic. Archived from the original on December 11, 2014. Retrieved Oct 7, 2014.
- ^ a b c d e Aizlewood, John (September 20, 2011). "Review of Neon Indian – Era Extraña". BBC Music. Archived from the original on September 25, 2015. Retrieved August 22, 2015.
- ^ a b c d e f g Méndez, Blanca (September 26, 2011). "Neon Indian – Era Extraña". Lodge Fonograma. Archived from the original on Nov 16, 2011. Retrieved March 19, 2012.
- ^ a b Fitzmaurice, Larry (September 13, 2011). "Neon Indian: 'Polish Girl'". Pitchfork. Archived from the original on September viii, 2015. Retrieved August 22, 2015.
- ^ a b Ernsberger, Parry. "Neon Indian – Era Extraña". Blurt. Archived from the original on December 27, 2016. Retrieved August 23, 2015.
- ^ a b c d due east Mitchell, Aurora (September 14, 2011). "Anthology Review: Neon Indian – Era Extraña". Beats Per Minute. Archived from the original on March v, 2016. Retrieved August 22, 2015.
- ^ a b Woolfrey, Chris (October 12, 2011). "Neon Indian – Era Extraña". The 405. Archived from the original on March 4, 2016. Retrieved September 3, 2015.
- ^ a b c d Dolan, Jon (September thirteen, 2011). "Neon Indian: Era Extraña". Rolling Stone. Archived from the original on Nov 26, 2011. Retrieved Nov 16, 2011.
- ^ a b Beck, Dani; Robertson, Derek (October 12, 2011). "Neon Indian – Era Extrana". DIY. Archived from the original on August sixteen, 2016. Retrieved August 22, 2015.
- ^ a b Hogwood, Ben (October 10, 2011). "Neon Indian – Era Extraña". musicOMH. Archived from the original on March 4, 2016. Retrieved August 22, 2015.
- ^ a b c Hyden, Steven (September thirteen, 2011). "Neon Indian: Era Extraña". The A.V. Club. Archived from the original on October 11, 2014. Retrieved October 7, 2014.
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Source: https://en.wikipedia.org/wiki/Era_Extra%C3%B1a
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