Fat Possum Records [Release date 11.02.22]

Upon first listen to Empath’s new album Visitor, a rich blend of artistic influences jumped out within the individualistic sound the Philly foursome have to offer. Psych-rock royalty like 13th Floor Elevators, The Velvet Underground and Cream came to mind, along with more modern legends such as Nirvana, My Bloody Valentine and Unknown Mortal Orchestra. After learning the album was produced by UMO’s one and only Jake Portrait, their sound made even more sense. It is worth being hesitant to draw too many comparisons when listening to artists so as not to bring the attention away from their own unique talents. But from the way the self-proclaimed ‘freak pop band from Philadelphia’ discuss their most recent body of work, it seems they are pretty comfortable in acknowledging their influences and idols.

From the first track it is evident that this album brings all the elements that you came to know and love about Empath from their 2019 debut album Active Listening: Night on Earth and then pushes it to the next level. The rough-and-ready appeal is there whilst also achieving a more fine-tuned sound. Vocalist Catherine Elicson’s words sit on top of the mix and mean the songs instantly become more hook-y. If this review isn’t proof enough that they are ear-worms, this is your invitation to listen to Visitor twice through and not get “Passing Stranger” stuck in your head.

It seems that the band are constantly balancing their underground, shoegaze-y temperament with moments of “clear poppy-ness”. They don’t want to be “tied down to one song or sound”, Pitchfork calling them “a thrilling rush of pop sparkle and art-rock experimentalism.” It seems that the band, the critics and the listeners can all agree on one thing: Empath are hard to pigeon-hole, and why would we want to? The modern psychedelic scene has brought about a revival of the wacky and wonderful, people like Kevin Parker helping to put it back on the map and into the ears of the wider population. Despite the rising interest, Empath keep their alternative charm. They fit well next to names like Melody’s Echo Chamber and Moses Gunn Collective and, fittingly, will be supporting Sunflower Bean (who have also worked with Fat Possum Records) later in February.

Most of the songs are in some way captivating, and have the capacity to live in your head and drive you crazy – if the definition of crazy is listening to the same album over and over. One honourable mention would have to be “Born 100 Times”, which holds one of their many enchanting lyrics: “You’re soft like leather in the heat because devotion comes so easily in every colour you can dream”. This image of soft leather is so evocative, the word choice nothing short of delicious.

“Passing Stranger” is another personal favourite, the name alone very much in keeping with the whole album’s themes of liminal spaces, loneliness and memory. The continuity between the album art and the lyrics is admirable, the photographer Andrew Emond specialising in abandoned building interiors. Elicson explains that we can “think of Visitor as a soundtrack to memories and feelings that remain in places people have left behind”. The whole body of work is underpinned by samples of “films, Minecraft, a cassette of nature sounds from the Bayou, recordings of an air conditioner, and a church choir heard through the walls of [a] warehouse”, this collection of sonic treats “a collage of sounds intended to produce a feeling of hearing life through walls.” It is safe to say, the idea of this album alone is trippy. The real thing doesn’t disappoint either.

A stand out moment is the series of three tracks: “80s”, “V” and “Bell”. The last line of “80s” (which has one of the catchiest hooks on the record) sums up the dissociative vibe that beautifully haunts the whole thing; “you feel like a visitor to your own fantasy”. Between this and the first words of “Bell” is the ambient sound bath instrumental Empath dubbed “V”. This track harks back to the long, intoxicating journeys that songs would take us on during the psychedelic 70s, providing the perfect contrast to the 2-3 minute tunes the album primarily features. Distant synths and guitars create a seamless transition that prepares us for Bell’s themes of solitude; “You’re out here by yourself ringing the same bell to remember the sound of sweetness…”.

Visitor is a carefully constructed kaleidoscope of sounds that gives us a dreamy exploration into quite an expansive idea. As we watch “America’s most inventive young psychedelic band” (Rolling Stone) shoot towards the stratosphere, we have the pleasure of melodies and poetry to remind us to live as presently as possible in every moment, or to welcome impermanence. And if neither of those take your fancy, stick it on and have a dance. ****

Review by Caitlin Kelly

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Power Plays w/c 9 December 2024

In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections

Featured Albums w/c 9 December 2024

09:00-12:00 The Best of 2024 (Melodic Rock)
12:00-13:00 The Best of 2003-2024 (Melodic Hard Rock)
14:00-16:00 The Best of 2024 (Singer Songwriter)