Could Swallowed A Star signal the emergence of a 21st century Brian Wilson? Actually, symphonic pop purveyor DanÃel Ã?gúst, late of Gus Gus, remotely resembles the Pet Sounds maestro, serving ably as artist, writer, and producer. Surrounded entirely by keyboard samples deftly approximating classical instrumentation (cellos, violas, string bass, tympani) plus assorted trip-hop trickery (bleeps, bloops, techo-percussion), Ã?gúst’s reedy/sultry delivery (think Decembertist’s Colin Meloy awoken from an erotic dream) exudes dark romanticism at every twist and turn (well, there are also sound-bites aplenty by anonymous women in the throes of passion). Amidst plucked violins, a simple four-to-the-bar high-hat beat, and assorted rhythmic groans “The Moss,” with its repeated chorus chant “high on love” is the stuff of Depeche Mode debauchery. Art rockers will appreciate the instrumental “Intersection” replete with atonal trumpet blasts spitting through a series of somnambulant synthesizer patterns reminiscent of numerous Eno/Cale collaborations. The lone mesmerizing melodic motif of “Nobody Else” seductively weaves through the din of howling winds, incidental clatter and weeping strings. Surf’s Up anyone?
~ Tom Semioli
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