Craigology’s Garden Tourist Goes Everywhere on New LP

By Deuce

Craigology’s latest, Garden Tourist, which is set to drop this Friday on September 23, evinces potential that is out of this stratosphere.

He’s equally adept plucking the guitar as he is tickling the ivories—which translates into a similar penchant for playing bass lines, organs, synths, and the like.

However, his sensibilities are imbued with an irrefutable propensity for The Music (AKA jazz, for the non-initiated)—albeit in its primarily modern incarnation in which it’s staid.

Nonetheless, a cut like “Evening Whispers” is nothing short of perfection. The percussion is lush and luscious, with some sort of cymbal or ride overpowering the rest of the instruments every couple of bars, just to keep things dignified. But his piano, oh, the piano, is unsurpassable on this number. It’s phrasing, its melody, the way he handles it, simply glides all over the track.

The cut itself evokes images of sunsets, drinking wine in private settings the public wishes it had, all while juggling a Latin-tinged percussion and some sort of lead with the timbre and qualities of horn (in keeping with the jazz motif).

It’s difficult to listen to the next track, “Yellow Croton”, without hearing samples off top from his peerless piano playing. However, the artist throws in an island beat, electric keys, and even reggae chords to make the tune move. It’s on this work that he unveils the full majesty of his electric guitar, which manages to remain non-abrasive and texturized—yet far away from the typical trappings of rock.

“Blue River”, on the other hand, is an assuredly contemporary sounding number with a snare most rap producers could work wonders with, non-acoustic drums and, to top it all off, the almost constant pouring of water in the background, which very well could be panned, at times. Here the guitar playing is much more bluesy, particularly when sharing time with the vibrato of an organ.

Craigology even jumps on a synth lead that’s like vintage material from Death Row Records’ heyday. Almost all of these numbers have similar delights, such as the prolific bass line on “Fantasies from an Orchid”. Although some of the tunes are certainly pushing towards the van of several different genres of music, this is one LP that surely won’t disappoint fans of a multitude of musical propensities.

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