Having made a name for himself in late 2010, Declan McKenna returns to a fearless exploration of psychedelia and raw pop, marking a colorful and confident turn in the artist's career. From the beginning, there's no doubt that McKenna's sound is very different, both from his politically charged independent debut What do you think of the car? The magical rock that defined 2020 Zeros. McKenna is back to asking questions through album names, with What happened to the beach? Doubly so as you hear the first recorded words. The sharp opening riffs and unexpected progressions keep the listener intrigued, if a little unsettled. McKenna's wavering vocals, which range from soaring falsettos to the more familiar floor tone, glow between the raucous guitar riffs that introduce the instrumental ensemble to become the star of the show.
Sometimes, the lyrics take a backseat, unlike previous projects. The repetitive chorus of “Elevator Hum” may sound corny but it takes on a fast, almost hypnotic turn amidst its brilliant musical landscape. Between the crunchy drums, video game twang, and drawn sword sound effects, there's a lot going on without it becoming overwhelming. The amusing phrases evoke the singer's time spent in California that served as inspiration for the album: “Just another California tongue / Prove me wrong / But I think they all sound the same,” McKenna teases.
“I'm writing the news,” says the witch Psychedelic vocal modulations with relaxed vocals morph into a more massive tone, increasingly incorporating bizarre elements including scratchy guitar, crackling vocals, and accelerated and sloppy harmonies. In the funky, half-spoken track, McKenna gives us his classic social satire, claiming to be inspired by online discussions that make him feel “like.”There is no unified truth anymore. In general, the artist seems to be distancing himself from early pieces like “Brazil” devoted entirely to political criticism — or at least allowing himself to venture outside his self-imposed constraints. “Nothing Works,” the most memorable anthem here along with “Sympathy,” channels musings on the fear of letting listeners down while wryly referencing his audience growing up as well: “It's not like I'm up and coming anymore/So, what if They heard me sing 'I love war' / I'm sure they're old enough now McKenna creates a witty, self-aware character, adding maturity and subtlety to his image rather than completely shedding the façade of his early days, his teenage self.
McKenna's potential as an innovative, genre-defying musical artist is clearly evident when he travels into musical territory he has never touched before. The product of such a mindset includes the texture-heavy “Breath of Light,” adorned with rhythmic breathing and shrieking robotic sounds — and it's about as eerie as we've ever heard it. The refreshing and uplifting “Mullholland's Dinner and Wine” is expertly arranged with the help of producer Gianluca Buccellati, with jazz and light flute playing gradually building the melody It was initially intended to be a “warped story about a cartoonish crime duo”. McKenna includes conversations from parties in Los Angeles (“Got a boring apartment, all the drugs / I'm so dangerous, I get what I want”) as the track floats in trippy extravaganza. The charisma and intelligence on display on the record is nothing new for McKenna. However, with this special blend of personal anecdotes, fictional stories, and a brand new treasure chest of sounds, he cements himself as an artist willing to venture outside his comfort zone – a trait that is certainly paying off.
