WASHED OUT – Within and Without

Washed Out’s first LP, Within and Without, is bigger, tighter, and catchier than his two previous EPs. It’s a major step for a young artist ready to come out from under the “chillwave” umbrella. While Megan takes issue with NPR’s claim that the album is made for dancing, I’m content to let the album wash over me. Also, there’s a chance this album should have scored The Karate Kid. Full album stream after the jump!

Brandon: Washed Out is Ernest Greene of Georgia. In 2009, he released two EPs – Life of Leisure and High Times, both recorded in a bedroom of his parents’ house. Finding himself in the right place at the right time as “chillwave” was having a gazillion thought pieces written about it like it was an honest-to-god, not-to-be-overlooked musical movement, Greene quickly garnered attention for his blurry, atmospheric electronic compositions, his popularity riding the wave (hur hur) of standout sun-bleached “Feel It All Around.” In a sea* of lonely, bedroom musicians, Greene managed to float to the top as a legitimately talented artist to be reckoned with.

This year’s Within and Without, produced by Ben Allen, who also co-helmed Merriweather Post Pavilion, Halcyon Digest, and St. Elsewhere among others, is bigger, more intricate, and catchier than anything I’ve heard from him to date. It’s a big step forward.

What’s your take on the first LP from Washed Out, Megan? And how about “chillwave?” You ready to ride that surf?

*[I can’t stop with the puns. The wave is so chill, bro.]

Megan: Ugh. If by “chillwave” you mean reverb soaked, heavily effected, synth-driven, 80s derivative lounge music, then no, dude-bruh, I’m not ready to ride that surf.

Do you know how long it took me to differentiate between the songs on this album? I swear, I put it on, tried to pay attention, then my mind wandered, because how the hell am I supposed to focus on this stuff, and before I knew it, I was on the last song, “A Dedication” – the only song that doesn’t sound like every song before it. And the worst part is, I don’t even like that song. While nothing on the album really stands out, I can’t say there’s anything I particularly don’t like, except “A Dedication,” a song that strips away most of the atmospheric gunk opens up the floor to Greene’s voice, a piano, and a steady, standard rock beat. It sounds like bad 90s Radiohead, which I guess would be Coldplay, or Ben Folds Five. Actually, I don’t know that those comparisons are quite accurate. Maybe Moby? Anyway. I don’t think it’s as bad as Moby, I’m just at a loss for comparison. You get it, though, right?

Brandon: OK. I agree with you, more or less. Though I think you might be letting an initial negative impression cloud what a lot of the album does right.

I agree that a lot of the songs sound similar, that their differences are subtle, but I also think it speaks to the identity of the album. I don’t think any of the songs feel or sound out of place. Even “A Dedication” feels like a really appropriate and earned denouement, one that might even point to a future for Greene as a more traditional singer/songwriter outside of the eye roll inducing “chillwave” subgenre.

You said it took you a long time to differentiate between the songs. But you did, eventually differentiate, yes? And you said, aside from the last song, there’s nothing on the album you “don’t like.” Is there anything you do like?

Megan: Yes. I was eventually able to tell the songs apart.

“Eyes Be Closed” sounds like M83.

“Amor Fati” sounds like Toto’s “Africa.”

“Before” sounds like a sunny Burial track.

“You and I” sounds like a Caribou track off Andorra.

And I like all of these songs, but I like their doppelgangers better.

Also, I was checking out NPR’s write up of the album for their First Listen series and they wrote, “With Washed Out, [Greene] seems content to just make people dance…” Really? I’m supposed to dance? To this? Prince makes me dance. Phoenix gets me bouncing around. I’ll cut a rug to some good Chromeo. LCD Soundsystem or Daft Punk, forget about it. But this? I think I’d rather be relaxing on a big puffy couch in a dark room, sipping on a cocktail, or maybe driving along the PCH (I hear it’s magical), and I think I’d rather be high for both.

WASHED OUT – “Amor Fati” (MP3)

Brandon: Ha! “Amor Fati” totally sounds “Africa!” What an awesome comparison!

And the PCH is magical, so long as you’re not actually trying to get anywhere. And you don’t get car sick. Or have fears of pummeling off a cliff to be swallowed whole by a cold and heartless ocean.

But you don’t think you can dance to “Amor Fati?” Granted, it doesn’t have the anthemic chorus of “Africa” but it’s indelibly catchy. And Greene pulls his voice to the fore in stark contrast to the even mixing and reverb drenched vocals of the previous track, “Echoes,” making for a really nice juxtaposition.

I’m kind of with you in regards to the danceability of the rest of the album, but “Amor Fati” is most definitely dance worthy.

Megan: I might concede “Amor Fati,” but I would never throw it down by itself if I were DJing a dance party. It has a nice little break that dries the song out before coming back for the finish, but even that doesn’t have the exhilarating explosion that comes with a truly danceable track. Just listen to anything Daft Punk has ever done if you want to know how to pack a dance floor.

I guess I’m taking issue primarily with NPR’s idea that the whole album is some kind of dance instigator. Just because an artist puts a bass kick on every beat of a 4/4 song, doesn’t make it danceable. And it’s hard for me to imagine songs as hazy and mellow and atmospheric as these being considered dance tracks.

Now, if I were DJing a New York or LA lounge, then I might be tempted just to throw on the album and walk away. It’s perfect background music. And it’s darker in a lot of places than anywhere on either of his two previous EPs.

I actually really like the title track, “Within and Without.” I feel like it should score some bitterly dark sad moment in an 80s teen movie. Like Daniel LaRusso walking around town forlornly after getting embarrassed by the bullies in front of his girlfriend. I don’t remember if this scene exists, but it seems like it should, and “Within and Without” should totally be playing in the background. And it should be raining.

Brandon: Well, I don’t think that scene exists exactly. But I did find this compilation. Turn the sound off and play “Within and Without” over it to your heart’s content.

Brandon: Hmm. I don’t know. I’m not sure that really did anything for me.

So, OK. This isn’t exactly dance music. I can’t argue with that. And it may be background music, but I think that’s OK. I think this music could score a lot of things – long drives, walks in the park, barbecues, talking with friends drinking wine. The songs don’t stand out or grab your attention, but who wants that all the time? Sometimes it’s nice to have well-crafted atmospheric music coloring the world around us. As a matter of fact, I’ve been listening to the album as I put this post together, and you know what? It’s perfect!

Plus, you have to admit, the album cover’s pretty cool.

Megan: It’s OK.

Brandon: SMH, bruh. SMH.

Within and Without is out 7/12 via Sub Pop.