The only alarming thing to come out of 'Vessel' is the realization of just what the band could do next within their genre. Instrumentally, the record is an indie pop masterpiece, a gorgeous fusion of sonic innovation and contextual efficiency. As one of the most personality-driven acts around, Frankie Cosmos had a tall order replicating the mood and temperament of past releases. Fortunately they evolved yet again, throwing more complex, but still realistic subjects onto the audience. Finally, the emerging talent of Bailey, Martin, and Pyenson takes center stage, an emergence that simply states that future Frankie Cosmos conquests may further employ the capabilities of these underrated musicians.
'In A Poem Unlimited' is by far the most ambitious and well-rounded record to date for Meghan Remy. The record finds a balance between genre experimentation and authenticity, a balance that most artists struggle with. Remy finds an equally impressive vocal balance, knowing when to quiet down and when to blow the roof off, an awareness that was inconsistent at best previously. Thematically the LP disarms you with assumptions. In a pleasant, easygoing song, she may soon be talking about killing a man; in a song about the gender pay gap, the drums may sound like they’re being played with a toothpick. Remy plays with moderation, goes left when the listeners say right, and forces them to observe the world through the lens of a woman in 2018.
'Freedom’s Goblin' shows that 10 LPs in, Segall is certainly not resting on his laurels. Though his forays into different genres are inefficient and haphazard, the fact that he so boldly attempts them is admirable enough. What’s less admirable is how long the record is, and how it seems to lose drive and focus, something that could have been negated through better organization or even splitting up the LP into more than one record. The true majesty of the record shines through with its dedicated theme of highlighting his love and appreciation for his weathered yet understanding wife Denee.
'The House' by Porches falls short in so many ways. From the invasion into the synth-pop world to the horribly unfitting vocals, virtually everything on this album is a disappointment. With luck though, Aaron Maine and co. will learn from this colossal waste of time and build something with greater depth and refinement in the future.
On their previous two albums, Frankie Cosmos painted amateur musical portraits of youthful urban life, but there was always the tiniest bit of predictability. “Jesse” could be the entryway to a new, more in-depth world of musicality for the group. The song’s structure and Kline’s vocals have helped the outfit paint with more elaborate colors and textures than we’ve heard from them before.