Underwater Peoples (2013)
As somebody who studies ethnomusicology at a major university, a scholarly pursuit I assumed was long since dead, Julian Lynch is probably more qualified to being writing this review than myself. His dedication to music both in regards to society and history is admirable, but it is Lynch's own musical output that he will eventually enshrine him as memorable in a larger sense.
, Lynch's sixth solo album, it is not as though the singer-songwriter/composer has approached the process in any appreciably different way, but the outcome here is vastly different than past efforts. Be it on Mare, Orange You Glad
or even his spare tracks for old Underwater Peoples compilations, Lynch has been nothing if not consistent in the way he tweaks his sound and his vision per each album. It remains simple enough to pinpoint the Madison, WI. resident's sound, yet from record to record his noise never grew tiresome. Lines
is by no means a pop record, no matter how convoluted the term has become in recent years, but Lynch finally seems willing to open up his sound to more rhythmic, sonically pleasing patterns. The result is a record that doesn't drain the listener mentally or emotionally quite as much as Lynch's earlier work, yet it retains much of what makes him so endlessly fascinating as an artist.