Words About Music
Nesey Gallons “Boston, 1999”
One of the most fascinating and worthwhile art collectives in music history is known simply as the Elephant 6 Collective, which was more or less founded by Neutral Milk Hotel vocalist Jeff Mangum, along with future members of bands such as The Olivia Tremor Control and The Apples In Stereo. These three groups were known for bizarre field recordings, ambient music, experimental folk, and an old-timey carnival feel to some of the music, as evidenced on Neutral Milk Hotel’s magnum opus “In The Aeroplane Over The Sea.”
These days, the Elephant 6 collective isn’t as consistent as it used to be, although it is seeing a revival with groups like Elf Power, The Music Tapes, and some of the Apples In Stereo’s more recent projects. And how could we forget the fact that Neutral Milk Hotel has reunited? Anyway, another one of the lesser-known artists associated with Elephant 6 is Nesey Gallons, a solo artist and multi-instrumentalist who has recorded and performed with NMH-member Julian Koster’s group The Music Tapes, which puts Gallons in a pretty great place now that Koster has reunited with his Neutral Milk bandmates.
Nesey Gallons’ latest release is a companion to his album “When I Was An Ice Skater” and it is called “Boston, 1999.” Also, it has been released on Little League Records, which I’ve reviewed releases from numerous times on this website. “Boston, 1999” is a beautiful and hypnotic combination of obscure field recordings, lo-fi, and experimental folk music, which makes it a must-listen to anyone who enjoys anything that Elephant 6 put out in its heyday. I can’t really compare it to any of Nesey’s other music because this is my first experience with him, but I can only assume that this style is his forte.
“Boston, 1999” is only four songs that progressively get shorter, but they’re four songs that touch down on the principles that Elephant 6 founded itself on, and does a great job of bringing emotion to strange sound clips and recordings of who-knows-what. It’s a very loose EP and would make for some great background music if it weren’t so short, which is I suppose what draws me in even further. It’s bizarre and hard to put my finger on, but it’s also very well put together and very well recorded. There’s some great transition on it that really make it feel like one composition, and you’ll be sad when it’s over. But I guess that’s what will make you want to listen to “Boston, 1999” again and again.
SCORE – 8.4