I would have to consider the title of this disc either a misnomer or an intentional joke. As a recording, it is definitely warm and inviting, and though almost entirely based on looped elements, has an organic feel unmatched by most similar projects.
The album has a dark, earthy feel that is only enhanced by the layer of audio grime that is intentionally placed over almost every track here. Every piece has a layer of crackling like old vinyl surface noise or decaying tape that gives the entire work a well worn, familiar feeling. When I say “dark” I don’t mean in the scary or black metal sense, but more in the ambiguous, unclear sense. The layers of loops that build from track to track make each piece more disorienting, but never to the point of absolute chaos. Instead, restraint is exercised.
Even though most of the tracks are built upon layered loops, the source of the loops is pretty much organic and is often guitar or piano. The opening “My Lowville” runs along with noisy analog elements and backward melodies, but the plaintive guitar loops above it provide a gentle counterpoint. As the layers of guitar and effects pile on, the track reaches a crescendo of chaos that rivals the best of the old shoegaze bands. “Auto Show Day of the Dead” follows a similar pattern, but leaning more on piano and tremolo guitar loops that begins to get more noisy towards the second half, but take on a digital sheen that is somewhat out of place with the remainder of the disc.
The subtlety of “Fucking Milwaukee’s Been Hesher Forever” is contradicted by its title, because the piece is probably the most gentle of the ones here. It doesn’t build to the same chaotic climax as some of the others do, but stays more subtle throughout, focusing on the gentle guitar loops that make up the bulk of the mix. “Re: We’re Again Buried Under” is not really any more aggressive, but is more abstract, seemingly based more on synth and other electronic elements, thus giving it a more sci-fi feel that’s enhanced by the warbling noisier spots.
The closing “The Surge Is Working” begins with guitar that has, of all things, a southern rock type vibe to it before the guitar gets louder and more chaotic than it did on any of the previous tracks. The entire piece has a more aggressive, forceful tone to it that culminates in some unexpected blasts of noise near the end, before retreating into the sounds of the vinyl surface noise that was omnipresent throughout.
An odd amalgam of electronic drone, cut and paste abstraction, and post-rock experimentation, The Fun Years have put out an interesting record here that doesn’t sound like much else. The odd thing is, for all its uniqueness, the overall atmosphere is one of familiarity and comfort, even though there’s no easy comparisons to draw.
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