“Trance Manual”
from the album Pixel Revolt
2005
iTunes
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John Vanderslice’s fifth album isn’t drastically different from his previous work but it isn’t just another step forward either. Pixel Revolt is easily Vanderslice’s most ambitious and musically advanced album to date. Sticking with the formula of acoustic and electric guitars, bass, and drums mixed in with different keyboards, strings and horns of all types, tape loops, and countless different tones and moods, Vanderslice and his main accomplice Scott Solter maintain their reputation as sonic adventurers as much as conventional musicians.
Indeed the songs on Pixel Revolt do still follow conventional verse/chorus/verse progressions, but, as always, what makes Vanderslice special is what he does within the confines of pop/rock. “Peacocks in the Video Rain” is lead by a bouncy piano line and a backing line of Hammonds and Wurlitzer. In “Dear Sarah Shu,” Vanderslice’s guitar serves more as an additional instrument then the basis of the song. “Radiant Terror” has a fierce acoustic guitar strum throughout that is echoed in massive bells that ring throughout the song.
Vanderslice’s lyrics deal with familiar subjects and moods. Vanderslice again writes solely in the first person but still tackles a number of different characters. A handful of the songs on this album deal directly with 9/11 and war from various perspectives. “Exodus Damage” seems to be Vanderslice singing as himself, mourning and questioning the events. “Trance Manual” finds a wartime journalist finding deeper solace and meaning in a visit to a prostitute. “Angela,” a track ostensibly about a runaway rabbit, marks the album’s saddest, and most powerful, lyrics.
Vanderslice’s willingness to experiment and ear for both music and sound has always made him stand out far beyond peers like Death Cab for Cutie. And while in many ways Vanderslice continues to improve from album to album, there is a feel of something lacking in Pixel Revolt. Vanderslice and his cohorts have become better musicians and have truly mastered the subtle sound effects and atmospheres; Vanderslice has even become a better singer. However, most of the songs aren’t as instantly memorable as the tracks on 2004’s Cellar Door, which isn’t inherently a bad thing. The more one listens to Pixel Revolt, the better it becomes, which is always a sign of good art. Its ambitiousness proves a more difficult listen than previous albums; however upon further listens Pixel Revolt is an ultimately rewarding listen and should prove to be a landmark in Vanderslice’s career.