Neon Indian is one of Alan Palomo’s musical projects, and it’s his best. Ghosthustler was entertaining, VEGA was fun, and Neon Indian is downright awesome. If you like any of Palomo’s work, you’re destined to love this, and if you weren’t previously a fan of the man, you’re likely to become one now. Of all the amazing summer-friendly tunes released over the last few months, Neon Indian’s have received the most playtime on my stereo, and have been the most well received by my friends.
The forthcoming-debut LP is called Psychic Chasms, and it’s currently floating around in some bloggers’ pockets. After spending time with the album, I can assure you that it’s good… really good. If anyone had any lingering (possibly Crystal Castles-inspired?) doubt in their minds about Palomo’s capabilities, it has officially been put to rest.
Neon Indian sounds like the most infectious synth-heavy sun-soaked psychedelic electro-pop music ever recorded to cassette-tape and stretched to brilliant-deformity by a “shit it ate my tape” accident. Psychic Chasms definitely exudes a recorded-to-expired-tape aesthetic, whether or not that’s actually the case.
“Deadbeat Summer” is one of the standout tracks from Psychic Chasms; it sets the tone for the album, and you will love how it immediately becomes a well-aged and historically-ambiguous slacker summer-theme… it’s as if the song was recorded well ahead of its time and lost in an old cassette box for 20 years.
“Terminally Chill” is the best titled song ever (although I’ve heard that “Should have taken acid with you” is the best song title ever). The title perfectly embodies the music, and the music sounds like the perfect antithesis for terminal illness.
“Should have taken acid with you” because we would “touch the stars and the planets too… take our clothes off and swim in the nude… tell my parents that I’m staying with you.”
“6669 (I don’t know if you know)” but you know now: Neon Indian is taking over the dream-waves (aka chill-waves), one timeless synth-blissed song after another. I wonder if this (the 6th track on the album) is a nod to 669 Polaroid film?
[introduced to me via]