[rating=7.00]
When putting together collections of songs, many artists fuss over the title. As it is typically a delicate process, some album titles are intentionally vague, random, or obtuse while others are a straightforward and direct nod to the thematic content represented. With his third release of material as Unknown Mortal Orchestra, Ruban Nielson went with Multi-Love as a nameplate to accompany his slinky and groove-inflected nine-track creation. While on the surface, he may be referring to a variety of things (his love of multiple foods, beverages, Casio keyboards?), the honesty he displays in the corresponding press materials make it obvious as to what Multi-Love means. Evidently, over the course of the past year, Nielson befriended a young woman while overseas on tour and the relationship carried on via email and Skype until it expanded to include Nielson’s wife. Interestingly enough, the polyamory became sort of a normal routine for a while, as the three settled comfortably into the Nielsons’ Portland home which also includes two young children.
The arrangement is mentioned in several online outlets, but it’s important to include in a review of the album because it factors into the lyrical content and sonic construction of this album fully and completely. Without the context, lines like “Multi-love got me on my knee/Mama what have you done to me?/I’m half crazy” (right there off the bat in the opening title track) simply fail to connect as strongly as they should. As the third party in the relationship eventually settled back into her prior living arrangements, the experience and its’ aftermath provided a singular focus for Nielson to create this album.
Anxiety and uncertainty sweep over Multi-Love like a late afternoon thunderstorm, ceasing only intermittently before the dark clouds of doubt roll back in. Nielson spends the contents of each song ruminating on the situation he’s gotten into and its’ potential repercussions. It’s fascinating (and at times a bit unsettling) to listen to him doubt, bargain with, and second-guess the limits his relationship is taking him towards. To his credit, rather than slip into relatively easy (and typical guy frame of mind) bravado, Nielson explores his feelings with depth and sincerity. It’s a bit hard to figure all this out on initial listens though, as like on past albums, Nielson gussies his voice up in multi-layers and distortion, making it difficult at times to discern his sentiment. Repeated spins coupled with knowledge of the backstory will reveal the internal struggle and give an appreciation of all that Nielson has been dealing with over the past few years.
And, really, the album sounds so fresh and densely packaged, that there is no need to know the details in order to enjoy it as a whole. With classic references like Sly and the Family Stone, Prince, and Motown standing as cornerstones alongside more contemporary peers like Tame Impala and MGMT, Nielson’s self-production alone makes this album a worthwhile listen. There’s a schizophrenic energy to the songs that often takes them in several differing directions at once. Keys, synths, guitars, percussion, and even some woozy ‘80s style sax (courtesy of Nielson’s professional musician father Chris Nielson) keep things groovy enough for the dance floor, in spite of the often dour lyrical content. The album’s two most agreeable tracks: “Can’t Keep Checking My Phone” and “Necessary Evil” could stand out as hits in the late 70s disco era or just as equally work over the crowd in packed bottle service clubs of renown. It’s no wonder why Nielson has also been tapped to write and record with folks like Frank Ocean and Toro Y Moi’s Chaz Bundick.
Regardless of personal circumstance, Nielson has turned Unknown Mortal Orchestra into an outlet of festivity and creative endeavor. He’ll now doubt be back on the road and buried in his home recording studio exploring the depths of his psyche and mining his daily life for inspiration and guidance. For now, though, Multi-Love stands as a redeeming document of a particularly unique moment in time.
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