Pillar Point

Everyone has that one album – an album you put on when you, whether you care about being seen or not, just let loose in the most vivid way imaginable. It seems like there’s always a search for hidden meaning within a song or album (guilty as charged here as well), but what if we told you that from the base to the core of Pillar Point’s Marble Mouth there was an unrelenting love of euphoria? There’s absolutely depth to what ensues, but it’s clear that Scott Reitherman, with help from Washed Out’s Cameron Gardener and Kishi Bashii’s Philip Mayer, wants to unfurl bliss onto the world.

As soon as the album starts, you’re thrown into a world where sharply angled shoulder pads rule, asymmetrical lines are at every glance, and the dark days of disco are dying. An anxious feeling on “Part Time Love” creates an aura of a monochromatic Orwellian assembly line that operates in systematic choreographed fashion, allowing fluorescence to finally crack the neutrality of the black/white scene. “Black Fly on a White Wall” then takes the bleeding color scheme and veers it towards a more electro-tropic land. Reitherman and company throw the gasoline in all directions before quickly lighting the match and letting the floor burn.

With Marble Mouth, what is guaranteed is an unequivocal feeling of wanting to shoot lightning bolts from the tips of your fingers. Even when something like “Strange Brush” seems a little doomy, the clouds roll in just to roll right back out. The warped idea of self-perception on the track? Doesn’t matter – just move. And the arrangements on so many of the tracks are a world where classical music collided face first with electronic. Is there such a thing, classical electronic? Absolutely. And all involved make sure you not only experience it but immerse yourself in it as well.

One thing that keeps recurring throughout is the enormous grey canvas that is open to multiple interpretations. It seems like an album with intention that is 100% open to ambiguity and various conceptions of the listener’s mind. “Gloomsday” strikes a pose that untethers your body and encourages you to get out there and do you. But then, it seems like staying inside and being anti-social is just as rad on “Playtime.” Stay in, stay out, doesn’t matter – just go with whatever flow you’re experiencing.

Dazzling, glittery, iridescent, magical, hard stomping… we could go on and on about the penultimate track “Underground,” but the track definitely isn’t a safe place for dullards to participate. Or maybe it is. The drops and swoops of the production are almost certain to snap you out of your wallflower coma. And when you leave the club, you crawl out at the deadest time of night. “Dance Like You Wanna Die” is the perfect nightcap to a washed out evening with a group or alone.

You can, and should, purchase Marble Mouth from the Polyvinyl Records store now. Joey Smith