Sacha Mullin, a beloved figure in Chicago’s music scene has returned with his unique blend of musical genres in his latest album, “Casino Wilderness Period.” Known for his collaborations with many left-field ensembles Mullin’s new solo work builds upon his previous works, but with many innovations in songwriting, composing, arranging, and producing. “Casino Wilderness Period” continues to push boundaries, combining a singer-songwriter approach with elements of avant-pop, indie-pop, jazz, rhythm and blues, soul, and leftfield influences.
The album opens with “Arranging Flowers,” a delicate yet powerful introduction to Mullin’s world. The track is a masterclass in blending intricate vocal harmonies with complex instrumentation. The gentle guitar strumming and magnificent piano leads set the stage for Mullin’s ethereal voice, which floats effortlessly above the mix. The lyrics are poetic, painting vivid images of nature and introspection. Mullin’s use of subtle jazz influences in the chord progressions adds depth to the composition, making it a standout opening track. Of course, it’s good to mention that the rhythm section sounds divine from scratch to finish. You’ll also notice how flawlessly performed back vocals and singalongs emphasize everything Mullin intended to achieve with this material. “Waves” takes a turn towards a more rhythm and blues, soul, and pop sound, incorporating keys and an energetic beat that drives the song forward. This track showcases Mullin’s ability to meld genres seamlessly, as he infuses elements of avant-pop with a rhythmic undercurrent that hints at soul and RnB music. The chorus is catchy and anthemic, yet maintains the introspective quality that pervades the album. Mullin’s vocal delivery is particularly compelling here, oscillating between soft, whispery verses and powerful, soaring choruses.
With “Thanks,” Mullin slows things down, delivering a soulful, jazzy composition that highlights his vocal range and emotional depth. The arrangement is sparse, allowing his voice to take center stage. The inclusion of superb piano and synth melodies, harmonies, and other sonic maneuvers adds warmth to the track, creating a sense of intimacy. The exceptional drumming makes things even more intricate, as they decorate each moment with marvelous beats, breaks, fills, and other percussive acrobatics. Lyrically, “Thanks” is a heartfelt expression of gratitude, making it one of the more personal moments on the album. Mullin’s ability to convey complex emotions through his music is on full display here, making it a truly moving piece. “Neptune in the Snow” is a mesmerizing track that blends elements of indie pop and leftfield experimentation. The song’s structure is unconventional, with shifting time signatures and unexpected melodic turns. Mullin’s vocals are otherworldly, enhancing the ethereal quality of the music. The instrumentation is rich and textured, with layers of piano, synth, percussion, and ambient creating a dreamlike atmosphere. This track exemplifies Mullin’s innovative approach to songwriting and his willingness to explore new sonic landscapes.
In “Margaret,” Mullin returns to a more traditional singer-songwriter style, but with his signature avant, jazzy twist. The song features more exceptional piano maneuvers and a straightforward yet deeply emotional vocal performance. The lyrics tell a poignant story of love and loss, with Mullin’s expressive delivery bringing the narrative to life. The complexity of the arrangement still allows the raw emotion of the song to shine through, making “Margaret” one of the most affecting tracks on the album. Mullin’s impressive vocal range is vividly hearable here, as he navigated low, mid, and high notes while emphasizing each segment and instrumentation. “Fiberglass” is a catchy track that showcases Mullin’s avant-pop sensibilities. The song features complex rhythms and unconventional melodies, with Mullin’s vocals weaving in and out of the intricate instrumentation. The use of electronic effects and manipulated sounds adds a futuristic edge to the track, creating a sense of unease and intrigue. This song is a prime example of Mullin’s ability to push the boundaries of pop music, blending accessibility with innovation in a way that few artists can achieve.
“Telepathy” is a standout track that blends soul and jazz influences with Mullin’s distinctive vocal style. The song features a smooth, laid-back groove, with lush harmonies and a catchy chorus that stays with you long after the song ends. Mullin’s vocal performance is impeccable, showcasing his range and control. The instrumentation is rich and detailed, with a prominent bassline and subtle touches of piano and funky guitars adding to the overall vibe. “Telepathy” is a perfect example of Mullin’s ability to create sophisticated and accessible songs. The album closes with “Window Out,” a contemplative and atmospheric track that leaves a lasting impression. The song’s slow, meditative pace allows Mullin’s vocals to shine, with his voice conveying a sense of longing and introspection. The minimalist arrangement, featuring gentle piano and ambient sounds, creates a hauntingly beautiful backdrop for Mullin’s vocals. The lyrics are introspective and thought-provoking, making “Window Out” a fitting conclusion to an album that explores the depths of human emotion and experience.
“Casino Wilderness Period” exemplifies Sacha Mullin’s artistry and ability to transcend genre boundaries. By combining elements of avant-pop, indie pop, jazz, soul, and leftfield, Mullin has created an innovative and deeply personal album. Each track offers something unique, yet they all come together to form a cohesive and compelling body of work. Mullin’s vocal skills and fearless approach to music make “Casino Wilderness Period” a must-listen for anyone looking for a fresh and exciting musical experience. Head to Dipterid Records for more information about ordering.
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