Album Review: Hello, Helou
A friend recently suggested that I check out the band Desmond Jones. When the first result of a generic Youtube search was a fifteen minute long funk jam from 2014 called “Psychic Lunch F*ckers,” I got a solid inclination that this is a band I would take further interest in. After viewing its Facebook page, my suspicions were all but confirmed.
Queue five years later, the release of Desmond Jones’ fourth album, Hello, Helou on July 26 this year confirms the band is still weird and still on the scene. The seven song album contains a variety of genres with each song sounding nothing like the previous.
The album beings with “Sylvia,” an upbeat song with cheerful melodies, including a xylophone chiming in during the chorus and a saxophone solo that accentuates it all. The lyrics, although playful, detail the tragedy of poor Sylvia. But was what happened to Sylvia a curse or a blessing?
I wanna be falling through the curtains of space-time and all that stuff. Well, I can’t imagine what you’re going through. It must be tough. — Sylvia
“Instructional Dance Song” momentarily takes the album downtempo into a melancholy setting. The song is instrumentally defined almost entirely by one guitar riff. While other instruments chime in occasionally, the overall absence of instrumentals along with light, airy vocals gives the song a solemn feel. The song acts as an early intermission for the wonkiness to come.
“Mime Factory” brings the energy back up again. The song begins with a guitar melody which turns into lyrics which progresses into full band instrumentals. Although occasionally slowing down into a harmonization of the lyrics, “Oh, Bruce. I’m freaking out,” the gradually increasing intensity serves well as a transition into the rest of the album.
…and somewhere across the sea, they’re gonna make a mime just for me. In a mime factory, replace me while I sleep. — Mime Factory
“Still Creatures” is when things start to get funky. Wavy instrumentals, oddly cut off notes, and instruments trading off on the melody are just a few of the methods employed that give the song a unique feel. Lyrics abruptly come in on an off-beat partially through the song and last less than a minute, leaving a cowbell filled jam session in their wake.
“Hot Hamm” keeps the funk train going, but it falls into more of a consistent groove than the previous track. Smooth, repetitive instrumentals allow the listener to focus on the lyrics. Each line of lyrics is immediately met with a group vocal response which gives more context. This song is definitely about a sandwich.
When you’re going down (Down town). You know you look so fine (So fine). You know you taste so good (So good). You gotta give me hot ham (When you go down). — Hot Hamm
“Split Again” takes the album in an entirely different direction by adding a country-style song to the mix. Two guitar solos, a sax solo, and a melody that is heavily defined by the sax add captivating layers of intricacies to the track. High energy coupled with sincere lyrics about intrapersonal conflict induce the urge to sing along to the relatable message.
The album’s finale, “Pat and the Big Carrot,” feels more like multiple tracks rather than one. This extravagant, almost ten minute long jam incorporates violin, group harmonics, and sporadic time signature changes that take the listener on an unpredictable, genre-switching journey.
“Here comes Pat and the big carrot. Please take a bite. You know he wants to share it. Some say it gives his slews of magic powers. Please take a bite. You’ll jump right in for hours.” — Pat and the Big Carrot
Hello, Helou is available everywhere. Giving it a listen (or five) is strongly advised.
Featured photo: Hello, Helou album cover.
Additional photos by Angel Renee Photography.
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