Behind all the bells and whistles singing and stretching across every second on this album is a beautiful, childlike song. The duo of Jason Frederick Iselin and Jeffrey Wentworth Stevens wrestle with unconventional sound and pop, folk, and classical sensibilities over the duration of Things Past. The tension that plays out between the odd and the familiar opens up a stream of ornate and soft music both catchy and laden with little treasures just waiting to be unearthed.
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Not content to rest their abilities on vintage machinery and expensive software, Iselin and Stevens write luscious, full songs brimming over with thick tones, velvet vocals, and tinkering percussion. All of Things Past is soupy, swirling with acoustic guitar and ascending swathes of orchestral electronics. It sounds absolutely amazing; in part because the band knows how to handle all of their instruments, but also because every song on here is almost instantly satisfying. There are enough hooks and sing-songy parts to make even the most ardent fan of pop music swoon. When the band decides to travel into the more abstract territory of pure electronic composition they pepper their doodling with a radiant shimmer that has a lot in common with Boards of Canada. During these moments the music is minimal and hazy, virtually steaming out of the speakers. They handle their love for the unconventional expertly, mixing it seamlessly with their more structured songs.
Stevens' voice only adds to the softness of the entire record. His singing is youthful, care free and almost always reminiscing. On the title track his voice seems to wash away with the oceanic pulse of the timpani-like drones that wander along in the background. On "Filmstrips Fade" his ascending, climatic vocals add a layer of drama to the dark and swarming music that backs him up. Both the music and the vocalist interact with each other, not satisfied with being a mere accompaniment to the other.
The point is that he is both coherent and instrumental, blending in with the music and standing above it as a vocalist. "Her Kleenex Laughter" is a beautiful example of Stevens' ability to move about within the music. His words move expertly through the guitar's melody, reacting rhythmically to the plodding drums that bring this song down to earth and place its power firmly in the movement of feet and the sway of the body. When George and Caplin get down to it, their music is powerfully physical, but without being forceful.
There's a whole world of compliments and small details I could deal this record, but ultimately the best thing about Things Past is just how lively and gorgeous it is. There is little doubt that it will stay in my rotation for a long time; all of the melodies and sumptuous instrumentals are resilient enough to withstand the most rigorous replay regimen. Not only will the songs stick in my head for days at a time, but the other, more abstract facets of the album compel multiple listens and open up an inviting space that promises complete unpredictability. Things Past is pretty on the surface, but exhibits a stunning profundity as well and for that reason it is a magnificently satisfying listen that absolutely should not be missed.
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