Avey Tare - Eucalyptus (Album Review)

 

Avey Tare - Eucalyptus

(2017)

My copy: 2017 limited deluxe press by Domino.

Taking a seven year break between solo records (unless you count Avey Tare’s Slasher Flicks as a solo effort), David Portner finally launched his career apart from Animal Collective into a new era with 2017’s Eucalyptus. Animal Collective solo records have always been intriguing for providing windows into what the individual members bring to the musical table:  Panda Bear impresses with traditionally beautiful harmonies, mellow tunes and a heavier focus tight songwriting. Deakin’s 2016 solo debut showcases his mastery of the ballad, along with moments of eclectic density, all backed by a further dependence on dissonance. Geologist has yet to bless the world with a full-length though Avey Tare’s chaotic and emotional dynamics were already well known ahead of Eucalyptus. 

With this new project, Portner has lowered the obvious walls of happier synths, now constructing reflective structures of acoustic guitar and backing effects/samples. There is a melancholy in the air, with the record touching on loss multiple times, though the diverse and gentle instrumentation is indicative of a mature mindset that is prepared to mourn peacefully. “Season High” mixes static-stained samples with staccato dots of acoustic guitar and vocals. Effects and harmonies often soar overhead, with stilted rhythms that keep the structures atypical. The album uses maximalism in layering to make up for its very simple bass and percussive elements, though moments of beautiful sobriety often appear such as with the soothing female vocal detour on “Season High.”

“Melody Unfair” patiently wades through moments of dissonance - treading with care so as to not overfill the mix. Bending guitars bemoan over Portner’s poetry, with breakout melodies appearing on occasion. The atmosphere unfolds through sizzling, lo-fi samples and found sounds before the folk singalong “Ms. Secret” revels in both quick and slow tempos. The lap steel guitar that often appears offers a sweet twang, humbling some of the more indulgent sonic experiments. “Lunch Out Of Order Pt.1 & 2” is a duology of psychedelic sound collages that dip into jazz through chopped piano. Tracks like “Jackson 5” and “Roamer” feel like they should have been elevated to full Animal Collective tracks with bouncy hooks that are underserved by thin production. Eucalyptus is at its best when it sticks to slow, mood pieces such as “PJ” and “In Pieces.” 

“Selection Of A Place” wobbles through more heartbreak, switching from fast to slow again before the lap steel guitar reinstates tender feelings. “Boat Race” feels a bit superfluous though the beams of droning synth add momentum. The eight-ish minute “Coral Lords” places a focus on environmental concerns, utilizing ocean sounds to solidify a peaceful tempo. The music eventually overflows with strummed piano strings and twinkling guitar, as vocals attempt to communicate from across dimensions. Bit crushing is used uniquely across the album to make some vocal lines and guitars sound more alien. 

Eucalyptus is at its best in its final two tracks, from the slower reminiscing of “Sports In July” which turns to muted guitar banging contrasting a lovely duet, to the cathartic lullaby of “When You Left Me.” The final track is especially moving for Portner’s heartfelt musings on the nature of past loves; his sentimental heart hanging in perhaps the most honest lyrical frame he’s filled yet. Portner’s return is not bright and triumphant, rather it finds beauty in the frailty of life and emotion. The songs fracture and split apart into new ideas with elegance, often appealing to universal existential feelings. Eucalyptus can feel slow or underdeveloped when it shares faster melodies, but Portner has always been the best at providing music that feels like an experience as opposed to just a neatly written pop tune. Through his work as Avey Tare, Portner leads with his heart - making his work some of the most effective of his AnCo colleagues.