Deastro

The Motor City is probably the last place in America you’d expect to find a green avenger (outside of G.O.P. headquarters, anyways), but that’s exactly what Detroit’s Deastro appears to be after listening to Moondagger, which hits stores June 23rd. Mixing equal parts environmentalism, hallucination and fantasy, the man born Randolph Chabot is a welcome edition to the ever-growing electro-indie catalogue. Somewhere between the whimsical tones of Merriweather Post Pavilion and the psychedelic rush of Oracular Spectacular is where this self-described “space symphony” really hits the mark.

It begins, appropriately enough, with “Biophelia,” which wraps Interpol-on-mood-altering-drugs vocals in crystalline cosmic instrumentation. It’s as good a track as any to serve as a microcosm for this album; the lyrics are hopeful, the hooks catchy and the live band really bolsters the sound where so many synths can sound thin and artificial. Indeed, this album sounds oddly organic despite the heavy use of inorganic tones.

“Parallelogram” is a fun tune set at a brisk pace, the vocals bouncing and punctuated by an unforgettable lead riff. The opening percussive shots sound like they’re being played on trash can lids, implying some in-studio creativity. But the beat picks up so quickly, it’s hard to imagine a pair of human hands moving so quickly. In either case, the drums anchor the song nicely and evoke an uncontrollable urge to rock out.

In advance of the album, the single “Vermillion Plaza” was released May 12th. The lyrics of this song are decidedly darker than the album as a whole, enough to be misleading to an unfamiliar listener. There’s a lot of hope in there, to be sure, but the tone of the song overall is one of longing. The spiritual side of the lyrics tends to be ironic, although he does sound earnest when he sings that “God is on our side.” I’m sure if there is a god, she’s pro-environment, but how does that fit with Jesus drinking whiskey?

Some other standout tracks include the unfortunately-titled “Toxic Crusaders” and “Kurgan Wave Number One.” The former is an instant favorite, starting small and building upon itself until it’s an all-out declaration of brotherhood with nature. “Are we not made of the roots of the plants and the trees?” Chabot plaintively beseeches the listener. This song could easily become the new anthem for the entire green movement, or the latest hipster dance sensation.

Chabot claims that the genesis for this album sprouted from a fantastic dream involving an epic battle between light and darkness and the powerful “Moondagger” weapon. There is some evidence of this, especially on the title track and the mouthful “Daniel Johnston Was Stabbed In The Heart With The Moondagger By The King Of Darkness And His Ghost Is Writing This Song As A Warning To All Of Us.” The latter is another hopeful affair with lyrics about rebuilding civilization and the individual. But what that has to do with Chabot’s fantasy dream is nebulous at best.

Fun and rhythmic all the way, this album clocks in at just under 50 minutes. The brisk pace keeps it moving fast, barely giving the listener time to adjust between songs, and the lulls are minimal. Multiple listenings are definitely required to experience all that Moondagger has to offer. This is an album that can be enjoyed as a distracting dance party or peeled back, layer by layer, to reveal the subtleties of the instrumentation and cryptic lyrics. It’s a definite must-have for anyone interested in the direction indie music is headed, and an encouraging sign of what’s to come.