Given the depth of this, Dentonite Chris Day's debut release, it's tough to tell if its creator is a genius or a loon.
The near-nonsensical lyrics certainly suggest the latter: The themes (discovery, remorse, frustration) are simple enough, the general topic matter (women) is familiar too, and the inspiration of it all is remarkably standard, if the album's title is any hint.
But the poetic-to-the-point-of-confusion lyrics are hardly expected. Take, for example, this line, from the album's best cut, "Adjusting Bodies": "Spite the first but there's always a tattoo/I still want to rest my flaws by you." That's actually one of the album's more understandable quips. Others read more like graduate-level thesaurus digging.
It's in the music itself, though—all created by Day, with few exceptions—where this album becomes something of a marvel. To put it perhaps too simply, it's Beirut voiced by Morrissey, with hints of LCD Soundsystem's knack for repetition and Jeff Mangus' penchant for lo-fi sound quality and uncertain vocals.
We Believe Local Journalism is Critical to the Life of a City
Engaging with our readers is essential to the Observer's mission. Make a financial contribution or sign up for a newsletter, and help us keep telling Dallas's stories with no paywalls.
Support Our Journalism
And it all adds up to a layered release, filled with more nooks and crannies than a Thomas' English muffin. So, for now, let's throw the idea of Day being a loon out the window and hope that, as his catalog increases, it continues along this intriguing path.