Panda Bear – ‘Sinister Grift’ album review: Introspective psych-pop that dances in the darkness
THE SKINNY: At the very crux of our love for harmonic layering is a romanticising of the interband dynamics that sit beneath them. For Panda Bear (Noah Lennox), that’s an antiquated concept in a world that is more disconnected, and instead, it finds beauty in the layering of self. The many voices of Panda Bear hike through every corner of the sonic world in pursuit of answers that like all great journeys, come at the very end.
Drawing influence from a myriad of sonic references can be a dangerous path to tread. The ever-looming danger of incoherence runs rife, and not only can melodic concepts seem muddled, but the narrative storyline told through the lyrics can largely be overlooked. Somehow, Panda Bear (Noah Lennox) seems to unveil fresh ideas consistently throughout Sinister Grift like some sort of sonic Russian doll.
Lennox welcomes you into the world of Sinister Grift with vibrancy. ‘Praise’ is a poppier, more anthemic number, where harmonies rain down and have you questioning how slick the entire production of this record may be. But follow up ‘Anywhere But Here’ proves Lennox’s artistic nuance to create a soundscape that shimmers and shadows in equal measures. The entire A-side follows suit, juxtaposing melodic textures that range from reggae to latin with a poignant lyrical narrative that ponders over a personal future post-divorce.
The lyrical foreshadowing of the darkness that sits at the very heart of this record grows into compelling tracks come the records B-side. While the hazy reflection of early tracks is muted but still mirrored on ‘Ferry Lady’ and ‘Venon’s In’, Lennox grabs you by the wrist and plunges you further into the deep blue darkness of the album’s final tracks. ‘Left In The Cold’ and ‘Elegy For Noah’ showcase the vocal versatility of Lennox, who turned his Brian Wilson-inspired harmonies into something both whimsical and transcendental. But more importantly, the playful pulling of genres wilfully exhibited in the first half of the record has been refined into something painfully poignant and technically coherent that, despite its overall darkness, leaves you desperate to stay in Lennox’s immersive world of sonic experimentation.
It’s an album of paradoxes and juxtapositions that somehow manages to introduce itself to you with crystal clarity. While the conclusion of its rotation on the last track warrants a gasping for air, you can’t help but flip it back over and begin from the first track, as there are plenty of musical corners to be re-explored.
For fans of: The Beach Boys, if the beach was part of a White Lotus hotel complex.
A concluding comment from Syd Barrett: “I like what you did on the B-side but trust me, don’t go any deeper.”
Sinister Grift track by track:
Release date: February 28th | Producer: Noah Lennox and Josh Dibb | Label: Domino Records
‘Praise’: Striking to the beat of your heart, this track sets out the poppier stall in which the rest of the record follows. A clever experimentation of Beach Boys-like harmonies that feels like a clap-along classic. [3.5/5]
‘Anywhere But Here’: A more juxtaposed sonic palete for Lennox to showcase his harmonies presents itself on this track. Shimmering and brooding at the same time, it’s a track that pulls deep into murky waters, while the sunlight bursts through the surface to inject splashes of optimism. [3.5/5]
‘50mg’: With the record showcasing fine harmonic composition, the opening bar of this song almost feels like a distraction to that element. But as it develops, Lennox’s ability to use harmonies and melodic obscurity as a sort of call and respond becomes clear.. [4/5]
‘Ends Meet’: Lennox’s flirtation with several global influences is indeed compelling throughout the album, but the almost Latin percussive elements here feel somewhat jarring after the previous track. The vocal hook is fun and emphatic and deserves a more thorough exploration. [4.5/5]
‘Just As Well’: In an environment where the playful elements of Lennox’s voice are allowed to flourish, it sounds like a mid-70s pop soundtrack for someone strutting down city streets with blissful confidence. [3.5/5]
‘Ferry Lady’: The sense of false optimism that underpins the entire album narrative comes to light here. Pitting lyrics of ending love on a sun-kissed tropical melodic soundscape speaks largely to the album’s sentiment of renewal and acceptance of a love lost. [3/5]
‘Venom’s In’: Introducing the track with an isolated reverberated guitar marks the record’s pace change. A stunning track that showcases Lennox’s deft artistic touch that allows a song to sound both sun-kissed and cloudy. The song’s more minimalistic composition makes way for the harmonies to flourish and take centre stage. [4/5]
‘Left In The Cold’: Lennox’s vocal versatility becomes apparent as the drawn-out vocal takes are echoey and chilling, painting an appropriate picture of desolation. The water we dragged into on the second track has grown deeper, murkier and all-encompassing in a masterclass of transcendental melodicism. [4.5/5]
‘Elegy For Noah Lou’: Combining white noise with discordant guitar parts, this is a track that tip-toes on a high wire where delicacy waits on one side and a caustic pit of metallicism waits on the other. It’s an entrancing voyage of psychedelic textures that, while dense in its listening, plays a crucial part in grounding the overall record. [3.5/5]
‘Defense’: Open the curtains and re-embrace the sunlight; this song’s heavy kickdrum begins the soundtrack of personal revolution and an uplifting closing to the record. It’s the first time a solo is let loose from the shackles of structure and to a welcoming effect. [3/5]
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