Unfortunately Steven Unveils Groovy Avocado Disco

By Deuce

From song to song, bar to bar, and moment to moment, one never knows what Unfortunately Steven is going to do on Groovy Avocado Disco, a 20 cut-opus.

He comes out with an authentic sounding disco record, four-on-the-floor drums plus snare, with the most dolby of funk guitars in there gigging hard, then cuts it after, oh, maybe 17 seconds or so while somewhere, somehow, he records himself walking through a door.

This idiosyncrasy is better known as the album leadoff “Entrance”, and the symbolism behind it is as apparent as some of his other moves are unexplainable. Listeners have just spent a little over a minute entering the LP and, more specifically, the mind of Unfortunately Steven. Not surprisingly, the next cut is called “Me In My Mind”.

Nonetheless, that’s about as predictable as dude gets on this outing. He’ll shift from a whisper style of singing to dropping the f-bomb (with aplomb). He overwhelms you with the most grating—and loud—distortion you might’ve heard on a record, then shakes it off as though it didn’t happen while getting right back in the groove of things on “People Are Stupid”. He’s got a song named “Tom Hanks”, for goodness sakes. Most of his tunes sound like parodies, complete with a quirkyness that’s less Saturday Night Live and more In Living Color, if anyone cares to remember.

That’s certainly the case on “Stupid”, which immensely benefits from a heavy duty bass line that actually hits fairly well. There’s a smattering of electric guitar on this one, and a whole bunch of Steven enumerating all the reasons why fatuity seems to be expanding among the human species in the current age.

Seven of these songs could actually be real-life snippets of therapy sessions, and are entitled, appropriately, “Therapy #1”-“Therapy#7”. Well, most of them are, anyways. As always, Steven defies convention in most things, even in conforming to a defined pattern for song titles.

He’s got a video for “Life’s Too Expensive For Me”, which is a highly piano-infused ditty about the trappings of affluence—and the fact that they seem to be overtaking just about everything, these days. Rousing in parts, the piano tickles and is reinforced by some creative drumming that gives the tune an effervescence with which almost any listener can identify.

That sentiment applies to rest of the album, and the artist, as a whole.  

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