Unknown Mortal Orchestra - Unknown Mortal Orchestra (Album Review)

 

Unknown Mortal Orchestra - Unknown Mortal Orchestra

(2011)

My copy: 2011 press by Fat Possum Records

Unknown Mortal Orchestra (or UMO for short) is the project of Ruban Nielson. UMO’s self-titled release is a lo-fi garage rock treat that showcases the project's humble roots. “Ffunny Ffrends” kicks off the tone of the record with buzzing guitar melodies and a very distinct vocal production that gives the harmonies a deeper ear-worm quality. Nielsen demonstrates a talent for writing concise and catchy pop, “Bicycle” is a relatively simple song with a bouncing bass line, crooned sing-song vocals and clever guitar lines.

There are tinges of bubble-gum pop and psych on songs like “Thought Ballune,” which features fun synth/affected guitar ambiance. Nielson finds a way to eloquently ride the line between jagged garage-rock guitar licks and lo-fi pop music; it is mostly the juxtaposition of the grinning tongue-in-cheek vocal lines with the occasional raw and powerful solo that give this impression. 

“Jello And Juggernauts” is a mellow saunter through funk and jazz influenced riffing. There’s an echo of early classic rock influence, especially in the warm production of the drums/tom rolls. Nielsen proves his guitar prowess on this whole record; and the album also serves as a proof of concept for the more expansive projects of the future (II, Multi-Love, etc.). The main flaw with UMO’s first record is its relatively low scope and simple production. Some tracks are difficult to distinguish from each other, and the focus is straightforward without any truly groundbreaking moments.

“Nerve Damage” does the most to break the mold with a strange guitar effect in the intro/outro as well as uniquely grimey vocal sneers that bring a new layer of personality however the song is unfortunately short. One can hear the trajectory of future UMO songs on “Little Blu House” with its focus on RnB-esque vocal harmonies and howls. 

There are clear Ariel Pink influences on tracks like “Nerve Damage” and “Strangers are Strange” but these songs are less theatrical and more straightforward. The final track “Boy Witch” plays around with samples and whacky guitar plucks. “Boy Witch” is the most dynamic song from a writing and production standpoint, and there are fun percussive details as well as chimes; the track balances lush arpeggiations with a freaky psych breakdown but ultimately dissipates too quickly. 

UMO’s self-titled record is a great collection of out-there lo-fi pop tunes, but one can almost sense a layer of self-consciousness and fear of committing to something deeper. The tracks on this album are all short and repetitive; they feature great ideas but don’t go beyond a few unique sections apiece. Nielsen has gone on to craft much more involved albums with tighter production and wider instrumentation. Personally, I believe II and later Multi-Love to be the perfect evolution from the careful and deliberate musical choices featured on this self-titled album. UMO’s later albums are sure to please the maximalists but Unknown Mortal Orchestra is overlooked in this discography, and is definitely worth anyone’s time. 

This copy is still easy to grab online.