Derek Porter’s Strangers, Vol. 1 was a atmospheric, folky affair that called up Bon Iver comparisons. Strangers, Vol. 2 is an experimental pop affair that has almost nothing to do with the warm tones and acoustic guitars of the first installation. This doesn’t mean that it’s bad, but it’s certainly an adjustment the listener has to make.
Porter’s new sound revels in juxtapositions, unusual sounds and unexpected chord changes. “Roger the Engineer” features a catchy chorus (“Lord, can’t take much more of this!”) that subverts expectations by swinging up at the end to an unusual chord. Then there’s the frantic, interesting outro, that shows up, is awesome, and then leaves before I wish it would.
Then again, “All is Loss” is a pretty standard piano tune that is not that far off from Vol. 1. But then the Lou Reed-influenced “When I Forget My Name” ratchets up the unusual again. It’s not totally avant-garde; just enough to keep listeners on their toes. But then “I’ve Been Walking” and “Tongue in Cheek” are jazzy lounge pieces, and full avant-garde pop returns with the seven-minute “Chestnut Tree” balancing morose atmospherics seemingly straight out of Vol. 1 with weird, Grandaddy-esque pop that abruptly stops and starts. It’s the best of the seven, as it meshes what I expected with the new thing he wanted to say.
And then it’s over. It is a bizarre little journey, but it’s one that leaves me scratching my head and repeating it, instead of scratching my head and deleting it. I’m not sure where Derek Porter is going or what he wants to be, but the tunes he turns out keep my interest. That’s for sure.