Same Waves’ recording is oriented around vocals-rich pop song structures
Having lain low for a number of years, John Hughes (aka Slicker and Hefty Records overseer) and Lindsay Anderson (L'Altra member) recently partnered for not one but two new projects and albums, Middle of the Meds (Serein) under the Hibernis name and Algorithm of Desire (flau) as Same Waves. The two met in 2002 when Anderson contributed vocals to a Telefon Tel Aviv release for Hughes' Hefty Records imprint, and in the years thereafter she guested on Hughes' own Slicker material and issued recordings by her group L'Altra on Hefty, too. When the two met for coffee three years ago, they left the encounter excited collaborators.
In contrast to the Hibernis material, which is minimal and meditative by design, the Same Waves recording is oriented around vocals-rich pop song structures. The move plays to each artist's strengths: Anderson's an incredible singer who elevates everything on which she appears, but she's also a gifted songwriter, while Same Waves grants Hughes the perfect vehicle for applying musical and production skills he's honed over decades. Algorithm of Desire isn't, however, a two-person affair; enhancing the presentation considerably are players drawn from the Chicago jazz and improv scene, among them guitarist Bill MacKay, violinist Macie Stewart, vibes player Rick Embach, bassist Matt Ulery, and drummer Charles Rumback.
Stylistically, the album's eclectic, with so many bases covered, in fact, that the album would possibly lack for cohesion were it not for the unifying presence of her sultry voice. Lyrically, the songs deal with matters of the heart and the impact technology has had upon human connection, but as is often the case with songs so sonically rich your focus will probably be on music first and words second. The album's sound design is organically tailored to serve the song in question and reflects artistic sensibilities finely attuned to the blending of acoustic and electronic elements.
A highwater mark's established at the outset by “Song to Save Us All,” a sophisticated slice of atmospheric dreampop whose allure's intensified by Anderson's fragile lead. Her voice oozes vulnerability as the emotional temperature rises for the synthesizer-flooded “Night Ride” and ascends stirringly within the epic lament “Hear What I Say.” “Same Waves” finds the duo cruising through the Cruise-Badalementi neighbourhood with her lead and background vocals calling to mind the nocturnal splendour of Floating Into the Night. Inhabiting different universes altogether, “Never Heard You Whisper” sees Same Waves venturing into dark blues-ballad territory armed with shuddering guitars, whereas “Horses” finds the duo tackling pop balladry with a country twist and an Anderson vocal that in spots exudes a bit of a Suzanne Vega-like quality.
Melodically, the slow-burning “Collapsing Time” could pass for a L'Altra composition when its expressive arc is so filled with yearning and the dramatic sweep so great, but pretty much everything on this splendid album hits its intended mark. Many a year has passed since she first arrested us with her singing, but Anderson has never sounded better, incontrovertible proof being her “There's a quiet in your eyes / As you take your first breath” vocal during the closing third of “Collapsing Time,” and for his part Hughes' acumen as a producer and sound designer shows no signs of rust either. Let's hopeAlgorithm of Desireisn't the last time we hear from this new project.
December 2018
