Airick Woodhead, a computer-crazed futurist who goes by Doldrums, is as 21st century as it gets. His 2013 debut album, Lesser Evil, lives in a world of its own, one where spastic electronics and yelping vocals communicate Woodhead’s twisted vision. It’s easy to be overwhelmed by the sheer busyness of Lesser Evil, which, not unlike Animal Collective’s Centipede Hz, is filled to capacity with sounds upon sounds, but its beauty is apparent from the get go. Woodhead’s voice, a goofy thing that lies somewhere between Avey Tare’s manic squawk and Andrew VanWyndgarden’s androgynous whisper, glides freely above his soundscapes and provides some vital human relief.
“Anomaly” is a standout track from a standout album. The track makes sense as a choice of single, as it’s a bit easier to digest than some of Doldrums’ other material. “Anomaly,” while it’s still a world of its own, reveals some of Doldrums’ typically well-disguised influences — ’80s new wave, sci-fi soundscapes and gothic electronica. With heavy drums and reverb-laden synths, the track brings to mind the apocalyptic hugeness heard on Depeche Mode records but with a modern feel. Woodhead’s stream of consciousness method is obvious, as interludes, extensions, and key changes appear in unusual spots, but an unrestricted structure serves as a pleasant foil to the track’s claustrophobic vibe.
Doldrums is one of the most interesting, enigmatic projects of late. Why not join Airick Woodhead in all his glorious weirdness?