My goodness. It's been so long since I've listened to this kind of music that I think I at least partially forgot how fun it can be when it's done correctly. Lineland is the recording name of one Malcolm Felder, who creates quirky, semi-glitchy little IDM-tinged pop tracks that combine everything from antiquated computer sounds to broken toy instruments, and his second album Logos For Love is one of those cuddly little releases that makes you wish summer would stretch on for just a bit longer.
The longest song on the album is just over four minutes, and most of the thirteen clock in at even shorter than that, and in the process focus on melody, melody, melody (with just enough rhythm to keep things grooving). "Pat Garrett" is a perfect example, opening with some ticky-tock sounds and shimmering filtered electronic sounds before everything in the bedroom studio arsenal kicks in and it lopes into an almost full-band anthem that's joyous as all get-out. "A Window And A Prince" is a bit more on the robotic side, with a bit of a crunchy distortion chewing on just about everything, and a limber bassline that dances around kids-toy melodies and gasps of hiss.
In other places, filtered human voices blend with delicate acoustic guitars and hand percussion in playful dances ("Northside") while the machines win the battle in stripped-down numbers like the filtered, quirky "The Move Down." The album is at its best when it moves into little living-room one-person band jams that recall the opening song, though, and both "Hollywood Graves" and "Tinsel Spots" flourish with a lush, but sort of not-quite-live feel that really feels like something slightly different. It's not exactly something that's groundbreaking, but Logos For Love is one of those charming little releases that caught me off guard and made me smile.