After more than two decades of dealing in musical anachronisms, one might assume that Lambchop’s recent forays into electronics mean that frontman
Kurt Wagner has finally gotten with the times. Defined by synths, vocoders, and drum machines, 2016’s
FLOTUS and now
This (Is What I Wanted to Tell You) are daring departures from Wagner’s previous attempts to mine outmoded styles of the past for new truths. But these modern trappings are just misdirection, doing little to obscure the fact that he seems to be feeling more out of time than ever.
Perhaps inevitably,
This (Is What I Wanted to Tell You) isn’t as sprawling or stylistically immersive as
FLOTUS. When you put out an album whose lead single is an 18-minute synth dirge, it’s probably a good idea to take a bit of a step back for the follow-up. This album lacks the stitched-together quality of
FLOTUS, that certain emphasis on atmosphere, texture, and the unexpected, rather than structure and melody, which makes that album alternately impenetrable and transcendent.
This (Is What I Wanted to Tell You) is 20 minutes shorter, and far less formless. Even its more abstract passages, like the nearly five minutes of roaming piano and wispy horns that close the title track, feel more familiar within Lambchop’s pre-established paradigm of reimaging old genres—in this case, lounge jazz—and as new again than the alien soundscapes of
FLOTUS did. The Wagner who spent much of the 2000s trying to turn himself into the world’s strangest, crustiest Vegas lounge singer is recognizable here as well. He’s just singing through a vocoder now.
No one could credibly accuse Lambchop of making conventional pop music, but new collaborator
Matt McCaughan, who co-wrote over half the album with Wagner and is responsible for much of its electronic instrumentation, at least steers the band in a less abstract direction. The whining synth motif that pops up in the middle of “The December-ish You” is a sneakily good earworm, and if it weren’t for Wagner’s creaking old-young voice, “Everything for You” might sound like something you would hear at Sephora.
That’s not to say Wagner sounds anything but disaffected by modernity. Just as
FLOTUS’s title falsely promised political musings in an election year, the fact that all but one of this album’s eight song titles are written in second person is just a canard—as if anyone wouldn’t notice that the only person Wagner is singing about is himself. A song title like “The New Isn’t So You Anymore” seems to promise a withering indictment of some behind-the-times character, but in reality, it’s just about Wagner sitting in a car and trying to reconcile his own place in the dizzying 2019 cultural landscape. Political references abound throughout
This (Is What I Wanted to Tell You), but they’re mostly just context-free phrases: “Be it so un-presidential,” “The news was fake, the drugs were real,” “Fell asleep during Vietnam,” and so on.
Rather than grapple with politics, Wagner sounds as if he’d much rather revel in daily mundanities: “I’m in a Mexican restaurant bar / Watching surfing and it’s amazing,” he sings on “The Air Is Heavy and I Should Be Listening to You.” In so doing, Wagner culminates a retreat into himself. Whereas Lambchop once boasted a grand, 12-plus-piece lineup, the band is now smaller and more insular than ever before. But Lambchop has always been whatever Wagner wants it to be, and if he wants “you” to mean “me” this time around, it simply does. “I see your reflection,” he sings at the very end of the gentle, acoustic-based closer “Flowers,” as Nashville legend
Charlie McCoy’s honey-sweet harmonica billows behind him, “and I say hello.” (Jeremy Winograd,
Slant, 15 March 2019;
https://www.slantmagazine.com/music/review-lambchops-this-is-what-i-wanted-to-tel...oesnt-say-much/)The time has come to stop calling
Lambchop “Nashville’s most fucked-up country band.” Given the stylistic breadth and ambition of
Kurt Wagner’s ongoing project, that designation has long been too limiting, as funny as it may be. But since collaborating with the Nashville electronic duo
Hands Off Cuba in 2005 and debuting his side project
HeCTA in 2015, Wagner has been distancing himself from the organic, twangy chamber pop that had been Lambchop’s stock-in-trade in favor of clean digital soundscapes and heavily auto-tuned vocals. Wagner dove deep into electronics on Lambchop’s 2016 album
FLOTUS, and 2019’s
This (Is What I Wanted to Tell You) suggests he’s not turning back. The smooth, aerodynamic lines of this music, the spectral sound of the distorted and layered vocals, and the implacable snap of the percussion loops mark
This as a bolder journey that goes even deeper into Wagner’s new musical territory. However, much like FLOTUS, a closer listen reveals this music is still very much in league with Lambchop’s previous work. The graceful flow of the melodies, the mingled longing and resignation of Wagner’s vocals, and the very human compassion and fleeting joy that is evoked by the eight songs on This draw the listener in. While the tone of Wagner’s musical backdrops is often cool and ghostly, it’s engaging as well; there’s a mildly trippy quality to the production that lends the music the qualities of a dream where the commonplace and the fantastic exist side by side. Percussionist
Matthew McCaughan, who has previously worked with
Bon Iver and
Hiss Golden Messenger, co-wrote five tracks on
This and was Wagner’s primary collaborator for the sessions. Though there are moments where genuine horns, guitars, or harmonicas are audible on the horizon, Wagner and McCaughan have created a sonic environment that’s alien but still full of recognizable heart, soul, and emotion. Like Lambchop’s best work,
This (Is What I Wanted to Tell You) takes the listener someplace they haven’t been before, and in this case that includes the fictive homelands of
Nixon and
Mr. M, but it’s also a place worth visiting. While this is hardly country or fucked up, it’s strange, beautiful, and the sort of thing only Kurt Wagner could create, and we’re lucky to have him around. (Mark Demming,
AllMusic)
