A. Savage's sophomore solo album is sprawling and beautiful and, at times, saccharine and self-satisfied. Read our review of 'Several Songs About Fire.'
The world is ablaze, and we’ve got to save what we can, however we can. At least, so pronounces A. Savage on his sophomore solo album,. After churning out a slew of cheeky, radio-friendly coming-of-age hits—and some arguably-underrated musical investigation of the human condition—as the frontman of indie-punk outlet Parquet Court, Savage has set out on a more openly philosophic venture under his own name. First came 2017’s Thawing Dawn, a sweet, isolated portrait of a burgeoning folkster.
Indeed, if the album has a throughline, it’s that sighing “thinking man” trope perfected by the likes of Bill Callahan and Father John Misty—a half-serious, half-sardonic musical rendition of Friedrich’s. You can picture Savage himself on that much-mythologized promontory, musing about late-stage capitalism and the beautiful women he’s wronged—one of which, I feel compelled to add, he mentions in reference to a “menstrual lava goddess” just three songs in.
When Savage molds that depth correctly, the results are mountainous. His instrumentals, especially a frequently-wielded acoustic guitar, swell and ebb with a feeling of utter talent, folksy and thought-out without veering nihilistic. His dips into sonic maximalism are triumphs , and his breadth of musical styling is undeniably impressive. Savage embraces his precocity rather than veiling it in an honest, Silver Jews-y way that mostly reads experienced rather than egomaniacal.
Let it be known, however, that Kamikaze Palm Tree’s Dylan Hadley saves this album. Without her sopranic intuition, many of the songs would be entrapped by their own minimalism. Sometimes Savage’s insistence on melodic simplicity is gorgeous, and sometimes it is two-dimensional. Hadley’s textural additions bring zombified songs to life and saves the album from its own hypermasculinized shoegazing. The second half of “Mountain Time” rests in her hands, as does that of “My My, My Dear.
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