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Lindy Vision’s Sophomore Album Delivers Visionary Style

Lindy Vision’s Sophomore Album Delivers Visionary Style

Lindy Visions latest album delivers

By Bradley T. Schuman

Lindy Vision's sophomore album, Lindy + Vision   This has been a killer year for the type of new-wave-revival-electro-pop-post-punk (Is that a thing?) I am into, and Lindy Vision’s latest album, “Lindy + Vision,” is sliding comfortably in with new records from Kristin Kontrol, Sylvan Esso and Bruise Violet, as well as old favorites from The Strokes, Franz Ferdinand, The Postal Service and Editors.

“Lindy + Vision” has a hazy, fever-dream feel to it – soft and wispy around the edges, with a titanium core underneath the rolling mist. The precision of Natasha’s guitar and Carla’s drum lines is offset by rippling synth lines and the silky sweep of Dorothy’s voice.

The trio calls its fans “Visionaries” — something I’m starting to understand a little better.

This is Lindy Vision’s second full-length album, with “Luck + Life” dropping last year, and the trio’s EP, “Pink + Black,” in 2014.

Lindy Vision loses a little bit of its rough-edged brit-rock feel from “Luck + Life,” replacing some of the more dominating, jagged guitar riffs with a synth-heavy ghost-in-your-attic feel. The new album feels less spartan, growing into more complex layering while retaining the garagey feel of previous tracks.

This album hits a mark most albums don’t lately: It can be listened to from start to finish. “The World Made a Monster” is a great opening track, with a sound that’s eerie and intense, compounded by powerful backing vocals. It rolls seamlessly into “Black Bodies,” which picks up the pace a bit with staccato guitar and breathy lyrics.

“Lindy + Vision” keeps the ride going for the rest of the album, too, smoothly switching gears from songs in mournful minor keys to ultra-catchy danceable numbers like “Ain’t in It for the Love,” where it’s easy to imagine the crowd singing along with “You’ve got that bang-bang / show me love” as the song pops into an upbeat horn melody.

“Staying Clean” has a frantic feel to it, and the drums shine here with character that will keep you moving whether you want to or not. Again, just the right amount of razor-sharp backing vocals adds tremendously to the song without making it seem too busy.

“Left Them All” is probably my favorite. It feels like something that’d make it onto the list of songs I listen to right after a nasty breakup. Its relaxed guitar line slides along with an echo that makes me feel a little low, in a good way.

After a tightly arranged and executed middle, “Lindy + Vision” closes up with “Black Diamonds.” It’s slow and sweet, it’s sad and it lets the album wind down in what feels like a natural way.

At the end of the day I’d have hit play again for a second listen, even if I wasn’t taking notes for a review, because, start to finish, this album is a good experience — not just a vessel for a couple good radio hits and loads of downloads on iTunes.
I’ll admit that I’m something of a hermit, hiding out with my record collection and avoiding large crowds, but after my first listen to this album I started thinking about looking for their next live date and getting out of the house for a show.
According to lindyvisionmusic.com, there’s a music video release TBA in October, and the Homegirls Records 5 Year Party at Sister Bar on Nov. 5 at 8 p.m. It’s a pretty sure bet I’ll be there, nodding along with the other Visionaries.

 

Bradley T. Schuman is a pop culture geek and music nerd with far too many records and opinions.

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Dennis Domrzalski is managing editor of ABQ Free Press. Reach him at dennis@freeabq.com.

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