June 17th, 2011 
James Shotwell 
Artist: Owl City
Album: All Things Bright And Beautiful
Genre: Synth pop
Label: Universal Republic
As is to be expected from a man part credited with the revival of synth-pop, Adam Young’s latest effort is a stirring and beautiful collection of songs. Deftly mixing the intricacies of softer music with some more striking elements, All Things Bright and Beautiful is a quirky and pleasing listen, perfect fare for a meditative evening in.
“The Real World” opens proceedings on an ambient, atmospheric note, with waves of tender and serene music well serenaded by gentle yet earnest vocals. The instrumentation is lush and orchestral, effortlessly framing the shyness of a rolling piano. It’s a delicate introduction to the album, yet packs an unassuming punch all its own. “Angels” revisits this ethereal note, with a symphonic and luminous sound. The vocals herald a bright explosion of synth, as the verses remain more or less still but with a gorgeous, almost fairytale note of tranquillity. The chorus is a little emphatic by comparison, thereby detracting from this soothing vibe, though it does serve to prevent the song becoming too languid.
One key point that stands out about this record is the mixing of the familiar with some newer elements – the beautifully arranged delicacies for which Young (aka Owl City) is known are here in spades but there are some slightly poppier and downright quirky elements. “Deer in the Headlights” has something of a techno vibe, adding a touch of the bizarre to the album. The structure and music is a little mainstream however, so it lacks the charm readily visible in some of the other songs. “Alligator Sky” brings rap into the works, which is very unusual altogether. While totally at odds with the sound pervading elsewhere, it does shake things up beautifully and the mismatch somehow finds a way to work. There’s a gorgeous section after the second chorus when the instruments become positively verbose, lilting deliciously under the vocals. The rap keeps things dramatic, and for all that that it feels a little uncomfortable at times, it engages quite nicely.
“Honey and the Bee” is founded round an acoustic guitar, which bequeaths it an instantly tangible and animated presence. It’s still quite meditative and understated, but it has a more vivid heart than the others. There are some distorted female vocals to go with Young’s which lifts it above the mundane, though it does start to feel a bit like a Disney tune by the end. That said, the final flourish is very energetic, and it succeeds as a shamelessly sunny love song.
“Kamikaze” nurses keen aspirations of grandeur and realizes them quite nicely. It’s suitably trancelike, with a gorgeous midsection featuring spunkier vocals sampled over dreamier singing to add a hidden thud to the music. It’s rhythmic despite its ambient sensibilities and most alluring. “Hospital Flowers” is piano driven at first, adding lighter, sparkling instruments as it progresses. The percussion brings all together before a slightly over-zealous synth effect crashes in a little too harshly, considering the shyness of the opening sound. When this fades, the song rediscovers a lovely sensuality. “The Yacht Club” features guest vocals from Lights, who adds a harrowing touch of the sublime to perfectly complement the gentle magic elsewhere. The song is a wave of melodies, very stylized, and very pretty. The chorus is lively and jovial, and the song as a whole quite an accessible, soothing affair.
“Plant Life” then makes for a fittingly idiosyncratic conclusion, turning a reflective opening spurred by diaphanous piano into a jazzier and more rhythmic number. The piano grounds the song throughout with steady, recurrent notes, letting the song build in the same manner yet keeping it vibrant. The rich life in the keys adds to the lush background and the song gradually finds itself, feeling potent and emphatic yet married to a suitably soft centre.
On the whole then, this is an exhilarating and beautiful listen, though it does run the risk of feeling a little flavorless to the uninitiated. As pretty as it is, the quirkier elements mightn’t be enough to engage, though it certainly can’t be faulted for vision and atmosphere. It mightn’t get you worked up into the party mood, but that one minor jibe aside, it’s a captivating release. Most worthy of your attention, and likely to reward more with each further listen.
Score: 8/10
Review written by: Grace Duffy
- 2015’s Most Underrated Films - December 29, 2015
- Passing The Torch: The End Of An Era For UTG - December 1, 2015
- UTG PREMIERE: Before The Streetlights – “Private Browser” - November 26, 2015
Posted in 
Tags: 