Eli Keszler – Eli Keszler
Unmistakably indebted to the imagination and soundscapes of David Lynch and Angelo Badalementi, Eli Keszler's latest album unfortunately falls into some common traps along the way
Voices on Eli Keszler’s latest self-titled record are rarely plainspoken. It begins with a gasp, and gives way to words whispered, uttered and beamed from another place. The composer and percussionist doesn’t so much centre vocals on this album – whether they’re his own, his collaborators’, or of undefined origin – as he does allow them to mill about and live in the gaps in these songs’ walls. That can be a comfort and a jump scare.
The album is unmistakably indebted to the imagination and soundscapes of David Lynch and Angelo Badalamenti. The sultry Sofie Royer-sung numbers open the curtain to the red room of Twin Peaks, while the jittery, noirish avant-jazz elsewhere conjures the unseen extended lineup at Mulholland Drive’s Club Silencio. It’s no surprise that the record’s rhythms move unpredictably, such is Keszler’s skill as a percussion player, particularly on When I Sleep’s fidgety snares. Speak For Me has a trip-hop swagger that provides a welcome dose of sex appeal.
Artists often lean into the darkness of Lynch’s art when drawing from it, missing the abundant humour, emotion and sincerity. Keszler falls into these same traps until the final track, built from his father’s last words and smokey Roadhouse guitars, finding heart in the surreal.
Listen to: When I Sleep, Speak For Me, Stay