Multimedia artist Devonte Hynes has been growing in personal accomplishment and popularity as fast as the Star Trek crew travel through space: at lightspeed. Working with the likes of Basement Jaxx and The Chemical Brothers is no small feat, but for Hynes, it’s only the tip of the iceberg. Having multiple musical alter egos and working with other acts such as Artic Monkeys and The Horrors is becoming an everyday thing for him. Devonte Hynes’ latest project, Lightspeed Champion, incorporates a strange mix of musical genres but does so in a way that allows for something unique to slither through the cracks.
Compared to his first work, 2008’s Falling Off the Lavender Bridge, Life is Sweet! Nice to Meet You. has much more of a defined, unique sound. It feels as if Hynes has begun to find himself and his talent, though there are consequences in this, as his place in music seems to get lost in translation from the get go.
The slow pop gem “Dead Head Blues” opens the record with a solid guitar strum that’s layered with organ-like synths and 80’s vocals. It’s a good precursor to the remainder of the album, especially in its formula, as it’s one build up that manages to explode midway into a dreamy soundscape that’s painted with Hynes’ voice. It’s almost rinse and repeat. Take newest single, “Marlene”, for instance. The track begins with a groove-oriented jam that segues into 80’s shoegaze, all layered with crooning vocals. Sound familar?
Hynes does manage to break the mold he’s set himself in, however. “There’s Nothing Underwater” is a perfect example. Arguably the essential moment on record, the song is backed with brilliant horns and strings that only enhance Hynes’ guitar and vocals, while those strange synth noises and harmonies turn this song into an out-of-this-world endeavor that doesn’t necessarily feel forumulaic as it does organic.
Following the very brief “Intermission”, the album becomes a pick and choose type of situation. “The Big Guns of Highsmith”, “Smooth Day (At the Library)”, and “Middle of the Dark” are all keynote tracks. “Big Guns”, with its dominant piano, is almost baroque in its eloquence and its catchy hooks cannot be denied. “Smooth Day” is very mellow and jazz-like and successfully creates a tone of false hope and that’s perfect for late night self-discoveries, which this music seems to welcome. Finally, the aptly titled “Middle of the Dark” creeps forward in tone, gaining steam with beating drums, before you’re tossed into another dreamscape that’s actually a surprise. Then it’s all over and the record ends.
Surprising moments like “Middle of the Dark” are what keep this album afloat. If it weren’t for the constant schizophrenic changes in the music, as formulaic as they may be, it would seem very lacking. Because when it comes down to it, while the retro pop rock and swooning vocals make for an eclectic and nostalgic listen, the question is, whom does this kind of music really appeal to? Save for 80’s Smith fans or maybe the modern day hipster? No doubt that talent exists behind the music, or that there’s an excellent guitar player present, but still, it feels as if something very important is missing — a main theme to relate to, maybe? With enough emotion and individual thought to keep listeners entertained, it’s the lack of a communicative bridge that leaves us stranded. Because of this it’s hard to imagine this one spreading like wild fire.
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