‘Era Extraña’ is Neon Indian‘s second album, following on the heels of their 2009 release ‘Psychic Chasms’. Variously described as Electronic, Psychedelic, Hypnagogic Pop, Glo-fi and Chill wave, I’m told this album was written in Helsinki, Finland. I’ve never been there so can only assume that tales of Finland’s beauty and inspirational qualities are accurate and likewise suppose the place influenced the contemplative sound resulting in the compositions.
On first listening there are some lovely melodic vocals, the music flows well from one song to the next. The mood is nostalgic but at the same time still very modern.
There is a three part instrumental spread out through the album ‘Heart Attach’, ‘Heart Decay’ and ‘Heart Release’ forming a narrative around which the rest of the tracks are hung giving the album a solid consistency.
Title track ‘Era Extraña’ is essentially an epic instrumental, big sound, carried along by the bass with twinkly little melodies. Very cool, I like it a lot and is one of the stand out moments of the album alongside ‘Fallout’; another excellent creation that sounds like film music. I really love this track; it reminds me of movies I watched as a child.
‘Arcade Blues’ draws from ‘80s synth-pop influences but personally I don’t like the out of tune note bending, for me it spoils an otherwise good song.
‘Halogen (I Could Be a Shadow)’ is also particularly anchored in the ‘80s and does not immediately stick in my head but has a depth that suggests it could become a favourite track on further listening. ‘Future Sick’ is another one that grows on you the more you hear it.
Another stand out is ‘Hex Girlfriend’, a glittery electro pop, catchy tune that sticks in the head and ‘Polish Girl’ has lots of computer game samples woven through it, zippy laser sounds and pings. It’s a bit repetitive, I can see this being popular in clubs.
I wasn’t sure I was going to, but ultimately I quite like this album. Some very well crafted songs.
Released October 03 on Transgressive
Echo Rating (((???•)))
Posted by Jo Stephens
