Nate Mercereau’s unbelievable thoughts
Nate Mercereau has long been known for weaving intricate sonic tapestries, collaborating with luminaries like SML and Carlos Niño, and exploring ambient soundscapes alongside artists such as André 3000. His earlier work often favored quiet attunement and flexible spontaneity, inviting listeners into deeply meditative musical spaces.
But with his latest release, Fantastic Thoughts, Mercereau has traded subtle reflections for a glorious, dizzying spectacle. This new album doesn’t just push boundaries; it detonates them, transforming his experimental approach into a lavish, lurid fireworks display of sound and pure imagination.
On this new work, Mercereau unleashes a dazzling torrent of ideas, playing a multifaceted array of instruments—including clarinet, electric mandolin, zither, and keys—to create a sonic landscape that is simultaneously chaotic and utterly brilliant. The quiet subtlety of his previous albums has been replaced by an exuberant explosion of creativity.
The opening track, “There’s Something Here …”, immediately plunges the listener into this whirlwind. It begins with a gentle, lilting arpeggio that quickly escalates into a gathering of intensity. A flurry of guitar-synth solos and burly, arena-shaking chords propel the track into a fever pitch, reminiscent of a demonic version of classic rock intros. Mercereau is determined to chase down every possible musical permutation, and the result is a relentless barrage of sound that feels both chaotic and meticulously constructed.
The expansive nature of Fantastic Thoughts is a fascinating blend of historical influences. It clearly owes a debt to the intricate progressions of the high 1970s, channeling the mood of groups like King Crimson and Yes. This foundation is then electrified by a hefty dose of neon-toned 1980s fusion, nodding to the sounds of groups like the Chick Corea Elektric Band. It’s a mischievous, slightly cheesy excess, like an iconic mural hastily airbrushed onto a van.
Yet, Mercereau knows how to temper the intensity. In a welcome departure, the album offers moments of serene beauty. Tracks like “Radical Possible Realities” breathe a steady-state hum, rich with sampled birdsong and slow, aching melody, recalling the expansive feel of the Golden Gate Bridge album. Similarly, “NewNow” introduces a delicate atmosphere, featuring aerophone work from Carlos Niño and saxophone from Aaron Shaw, layered with Mercereau’s gentle, pitch-shifted vocals, punctuated by conga drums that evoke the feel of Tyondai-era Battles.
Whether navigating a mutated whirlwind of sound or offering moments of tranquil reflection, Fantastic Thoughts solidifies Mercereau’s position as a visionary. It is a powerful demonstration of how boundless experimentation can lead to breathtaking, colorful new possibilities for the music world.
Credit
