Recordings
Avalanches invite a bevy
of guests to sampling bash
The Avalanches debuted in 2000 by organizing a dense, dizzying jigsaw puzzle of seemingly unrelated electronic samples into one of the defining albums of recent decades, “Since I Left You.” It was in many ways an Australian counterpart to the 1996 sample-tastic debut by DJ Shadow, “Endtroducing,” a richly colored daydream in response to Shadow's dark interior journey.
“Wildflower” (Modular/Astralwerks) marks the return of co-founders Robbie Chater and Tony Di Blasi, and the debut's mix of childlike wonderment remains intact. A wistful nostalgia prevails, and the sequencing evokes a circus carnival or a trippy joyride into the vast Australian wilderness.
The tracks cover a lot of geography, from an acid trip on a beach (“If I was a Folkstar”) to a treehouse (“Live a Lifetime Love”), and the songs are populated with characters “Livin' Underwater” or floating in the clouds.
Like the debut, the album's sonic landscape connects the rich textures of the Beach Boys' “Smile” with De La Soul's fanciful “3 Feet High and Rising.” It creates a world through the art of digital manipulation that allows for startling juxtapositions and unlikely collaborations: “The Noisy Eater” has the eternally lovable Biz Markie jamming with a children's choir singing the Beatles “Come Together,” and “Frankie Sinatra” imagines Rodgers and Hammerstein joining forces with '40s calypso artist Wilmoth Houdini.
In contrast to the relatively self-made debut, “Wildflower” is lousy with cameos: a cast of dozens that includes rappers Danny Brown and MF Doom; the Dirty Three's Warren Ellis; Tame Impala's Kevin Parker; and Father John Misty. The diverse contributions make the album more of a bumpy ride than its predecessor. “Stepkids” borders on the ramshackle, a childlike, tambourine-inflected ditty sung by Royal Trux alum Jennifer Herrema. Mercury Rev's Jonathan Donahue fares best of all the guests on the woozy “Kaleidoscopic Lovers” and the even woozier “Colours.”
Daydreams don't get much more vivid than the Avalanches' debut album, but “Wildflower” is a worthy — if not quite as revelatory — sequel.
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