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On Olly Oxen Free, Mason Proper creates a hazy world of modern psychedelia — the songs swirl around on circular patterns set aloft by reverbed guitars, digital effects and tweaked keyboards. Running beneath this surface is a subtle streak of white-boy funk, complete with severely syncopated bass lines and stop-start drum parts that sound like heavy machinery. Olly being Mason Propers sophomore LP, it’s impressive that they’ve nailed down such a distinct sonic identity. Tracks like the frantic “Shiny” and the long-fused-dynamite closer “Safe for the Time Being” are better than what many well-seasoned acts are churning out in 2008.
If only the band’s voice was as confident with who it is. Frontman Jonathan Visger is a playful lyricist, an onstage madman and owner of some malleable vocal chords, but all that adds up to an upsettingly schizo performance on Olly Oxen Free. He embodies several alternaindie icons (Yorke, Black, Brock and Mercer) throughout the proceedings, but never offers a lasting impression of himself. Olly Oxen Free is the sound of Mason Proper coming into its own, and hopefully Visger won’t be too far behind.
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uh, seriously?
Yep, I guess.
Although I agree with you that Visger's voice doesn't always have the same exact sound...I disagree with you that he needs to conform to one particular voice. In my opinion, the fact that he has multiple voices to offer keeps me, the listener, from getting bored. And it isn't SO dramatic that you don't know it is the same guy.
I just don't think all music needs to follow the same protocol, and bands don't all need to do the same thing. I think it is just fine to have a little variety in sound on the same album as long as it flows. And I personally think Olly Oxen Free flows beautifully and Visger has come into his own a LONG time ago.