Space has been an intriguing concept for musicians for an incredibly long time. (Cue David Bowie!) But rarely has it been as literal a fascination as it is with The Lovely Few, who have named five consecutive releases after heavenly bodies. The Geminids, a third in a series of releases named after meteor showers, features only one song that isn’t obviously named after something in space: opener “Les Anciens,” which is probably something awesome I’ve never heard of.
The Geminids, however, falls in the category of “things I have heard that are awesome.” The Lovely Few’s previous work drew some easy comparison to the bleep-bloop electronic pop of The Postal Service, but Mike Mewbourne and co. have opened up the sonic palette on this one to incorporate a lot more moods. The basic sound is still electronic-based pop, but prog, ambient, acoustic pop, Sufjan Stevens (especially The Age of Adz), and “space-rock” are all equal contributors to the album.
“Les Anciens” shows off this diversity of influences well, opening with a proggy, spacey keyboard line before adding in the signature clicks and pops of twee electronic beats. But all that gets wiped off the board as some tribal-esque beats come in. From there, Mewbourne and his collaborators start to layer sounds and vocals. Mewbourne’s voice is a perfect fit for this environment; it’s evocative but not theatrical, calm but not placid. It holds mystery in it. There are spaces to be explored and pondered in both his vocal delivery and songwriting.
The lyrical elements have a very Bowie-esque feel to them: are they metaphors, stories, or both? Tunes like “Venus” and “Castor and Pollux” beg me to read the whole album as a concept piece about a relationship; “Tyndarids” and “Mars” seem to be just about things in space, with some religious overtones. I don’t think it’s an either/or thing–I think there are levels of content here.
The Geminids is an intriguing album that requires investment. You can just listen to it once to play “spot-the-references” and take in the nice mood, but its true treasures are unveiled after multiple listens. The sleigh bells in “Gemini,” the rhythmic tension in “Prelude,” the pacing of “Phaethon 2”–these are all joys that aren’t immediately apparent. This isn’t an album with singles, really; the thing comes together as a whole. If you’re going on a late-night road trip, or perhaps watching the stars, The Geminids would be a fascinating and rewarding companion.