There's a taste of Shakespeare in the air around him. (I know I'm probably getting quite carried away.) I don't feel I can quite do the album justice; but I've given it quite a few listens the last week or so. And there's a hunger to the lyrics to stitch as many things together as he can. I like that popological approach to shit. And there's a solid grasp of the ridiculousness of his situation on "Lion" - "My disgraceful quest for immortality/An adventure in an airship inflated by my ego". And in his other hand, an invisible knack for the pop hook, slapping me around the head.
I get a whiff of The Horrors and Eighties Matchbox B-Line Disaster, and these are whiffs I breathe in with big lungs. And while Jack White and the like whinge and do the blues thing about the love interest, Eugene stakes a claim for a bit more of a complicated appraisal on "Thunderbolt", over sliding jazz-like noises. Chamber pop with a great many trimmings. "Joshua" likewise has a wider scope with backing vocals that sounds as though they could be from a sentimental black & white movie from the Forties.
"Japanese Cars" shows there's a bit of discordant keytar funk to hand as well, if needed. Closes out the album nicely, it does. Although it does have a "She's evil" lyric, so perhaps he isn't splitting away from the misogynist tree that far after all.
Rating: Shakespeare out of Pop DNA