by Ian MacPhee (@i_macphee)
Helvetia is back with the charmingly lo-fi This Devastating Map. The solo project of Jason Albertini, an original member of Duster and former bass player for Built to Spill, each release from Helvetia manages to sound different from the last, yet usually sits within a common realm: fuzzy, home recorded psych-pop music. On This Devastating Map Albertini crafts a collage-like world of fragmented sounds and ideas. The music is mellow and low-key, but always interesting due to the unpredictable and creative songwriting.
Helvetia is simple but illusive. Albertini’s songs are consistently catchy, but the chaotic guitar freakouts and weirdo-pop song structures make the band hard to define. This Devastating Map follows this formula. The album begins with “Devastating Map,” a rambling and hypnotic track with sparse vocals. A simple repeating bass line sets the tone, and Albertini’s signature slide guitar playing creates an emotional undercurrent. The next track is “Inverted.” While it feels cheap to compare Helvetia to Albertini’s first project Duster, the slow, cloudy, nostalgic atmosphere is very reminiscent. Albertini sings “had a long fright, twenty eight days, really bad sleep, habitual distortions” as cymbals crash and guitars dance around the vocal melody.
“How Does it Feel?” is woozy and noisy. The song covers an impressive amount of musical ground despite its short length, largely due to the unconventional chord arrangements. The track feels like the musical equivalent of stumbling drunk and fighting to keep your balance, and you’ll find yourself restarting it over and over again. “Car Crash” is the most psychedelic song on the album. It’s energetic and upbeat, yet the guitar playing is what truly sets it apart. Helvetia is one of the only bands that can make a lengthy wah pedal guitar solo feel appropriate.
“Those Eyes” is one of the more experimental tracks on the album. The song has a loose improvisational feel, toying with traditional song structure. It begins slow and loungey until piercing guitar breaks the pace. Albertini never seems to shy away from exploring everywhere a song can go, and the element of surprise in Helvetia’s music is why the project is exciting. This Devastating Map ends with “Long Beach,” a short piece consisting mainly of piano and vocals. As Albertini sings, auxiliary noise begins to bleed in and the intensity rises. The track ends with an ominous blend of drones, concluding the album on a cinematic note.
What makes This Devastating Map great is the boundless creativity in Albertini’s songwriting. Each song exists in it’s own unique world, but Helvetia’s hazy lo-fi aesthetic keeps things cohesive. This Devastating Map is an exciting new addition to the deep discography of Helvetia.