Fast Idol

Even though Black Marbles Chris Stewart has expanded his sound -- and moved his base of operations from New York to Los Angeles -- hes still very much in touch with his musics roots. On 2020s covers EP I Must Be Living Twice, he revisited key influences such as Wire and the Field Mice; on the full-length Fast Idol, he returns to the intuitive songwriting of his earliest work. While the more detailed approach he took on Bigger Than Life gave extra depth to that album, Stewarts impressions and snippets mesh well with Idols hazy, retro-futuristic synth pop. On songs such as Bodies, the more general vibe of bittersweet reflection is a perfect fit for the nostalgic sonics. Even more so than on Bigger Than Life, the tones and production touches Stewart uses carry the songs moods. Fortunately, theyre eloquent. The sunny bounce of Somewhere and Ceilings radiant guitars give a more hopeful cast to the albums yearning, while Brighter and Biggers wavering washes bring things to a close on a note of ambivalence. Fast Idols brightest highlights occur when Stewart adds more twists and embellishments to this mood of longing and uncertainty. Set to a decaying waltz beat and encompassing field recordings of a crowd and hand drums along with cut-glass synth tones, The Garden is one of the most arresting songs here. Similarly, Streetlights surprisingly funky keyboard melody helps make it both brooding and lively as it dances in and out of the shadows. While more structured songs such as Ship to Shore and Preoccupation are also among the albums strongest moments, Fast Idol is all about mood, and its got plenty to spare. ~ Heather Phares