V

V starts with the piano work of “Garden” before a looping electric guitar chord inserts a bit of bubbly personality into the opener. “Hold on tight, because it’s violent after dark in the garden,” they ominously sing. The album proceeds to document the loser boy syndrome of falling for a playgirl. It dips in and out of states of confusion, with everything seamlessly lacing together from one track to the next. V’s strong point is its transitions as a note from one song carries in to start the following track.

“Guilty Pleasures” sounds as if Anderson .Paak is singing through static– highlighting how the album’s incorporation of psychedelic soul gives it the undertones of trending R&B of today. “Guilty pleasures are holding us together,” they intentionally sing dryly. “Rise and shine, it’s a wonderful day,” is halted by the buzzing of electricity, proving that in fact it’s not that and that the band is going through the motions. By this point, it becomes clear that V will benefit from elaborate storytelling. The third track, “Meshuggah” works as a homophone for “you give me sugar,” as the group is still lost in the whims of the woman that is being sang about in the first two tracks.

The lyrical continuity of V is often jolted (but enhanced) by the instrumental work. There are four tracks that are primarily instrumental: “The Widow” plays on funky ‘70’s disco grifts often stumped by the jarring smashing of drum sticks and a tenor saxophone, while “Shin Ramyun” has a city pop quality to it, also playing on the dramatics of ‘70’s cinema. At the end of “Shin” there is a drowning, bubbling sound, enhancing the atmospheric decisions the trio makes. "Keaukaha" is a beach in Hilo, which plays exactly as it means: a passing current of only 2 minutes and 14 seconds. Then there is the closing track “Drag,” which does as it suggests, with the inclusion of cowbells over a lite fare that harkens back to beach vibes. On that track there are melodic “mmm’s” happening.

Fittingly enough there is a song called “The Beach” that also drags in demeanor. “Take me back to the beach/Take me back to the times out of reach,” is faintly sung in the vein of Tame Impala’s brand of psychedelic rock. This track proves that Ruben Nielsen can not only rival Impala’s Kevin Parker, but also the stylings of feel good R&B singers of the ‘80’s. He’s found harmonizing with his brother. That flows into “Nadja,” which is even quieter in its tone– mirroring that of The Eagles for the way it perks up in its yacht rock, soft rock mannerisms. “Nadja” is witty and comedic, as Ruban sings about how his lover is possessed by another woman when they hang out in the bedroom, before he quickly snarks in the chorus, “thought that I might get a little head.”

“That Life” (which appears at No. 1 on our Tastemaker’s Alt 7 chart for Summer 2023) marks the obvious commercial highlight of the album. Placed in the center of the tracklist, “That Life” features dancing puppets in the music video. While the song sounds as if it is meant to be fun, it in fact discusses the gloom of overdosing and being too drunk to function. Ultimately, the recklessness of being under the influence causes more pandemonium. As the central track, “That Life” best represents the overall theme of V. As the world turns, there are inhabitants trying to make their own universal rules that ultimately can work against the laws of nature and humanity.