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The Ruby Suns|Sea Lion

Sea Lion

The Ruby Suns

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Having already established his Beach Boys fascination with 2005's self-titled debut, Ryan McPhun reached into his travel journals for Sea Lion, spiking the Ruby Suns' pop/psychedelia with ample amounts of African, Polynesian, and Kenyan instrumentation. The resulting album follows the recent paths of Yeasayer and Vampire Weekend by finding some middle ground between indie pop and world music. Sea Lion is an aural melting pot, with ukuleles and sun-baked singalongs sharing space alongside '80s-styled electronica and programmed percussion. It unfolds in layers, opening with the spacey Hawaiian cadence of "Blue Penguin" before segueing into two of the album's most genuine folk numbers. "Oh, Mojave" and "Tane Mahuta" are as earnest as they are indigenous, the latter featuring polyphonic percussion and elegantly harmonized lyrics sung in the Polynesian dialect of Maori. Throughout it all, McPhun weaves in modern production -- a processed keyboard here, a vocal effect there -- so that by the time "There Are Birds" introduces a bit of hypnotic dream pop into the mix, it hardly sounds out of place. The Ruby Suns still remain heavily indebted to Brian Wilson, but they largely confine themselves to his enigmatic SMiLE period, making heavy use of sleigh bells, vibraphones, and reverb-washed vocals throughout the album's second half. Only when "Morning Sun" takes an abrupt turn into Depeche Mode territory does Sea Lion falter, particularly given its final position in the track list. Listeners are left scratching their heads, wondering where the enigmatic jungle pop music went, only to return to McPhun's sunny sounds once the album reverts back to track one. Culture clashes never sounded so good.
© Andrew Leahey /TiVo

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Sea Lion

The Ruby Suns

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Desde 12,49€/mes

1
Blue Penguin
00:05:00

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

2
Oh, Mojave
00:02:31

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

3
Tane Mahuta
00:02:57

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

4
There Are Birds
00:04:12

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

5
It's Mwangi In Front Of Me
00:03:36

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

6
Remember
00:04:32

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

7
Ole Rinka
00:04:19

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

8
Adventure Tour
00:03:51

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

9
Kenya Dig It
00:04:17

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

10
Morning Sun
00:06:26

The Ruby Suns, MainArtist

2008 Lil' Chief Records 2008 Lil' Chief Records

Presentación del Álbum

Having already established his Beach Boys fascination with 2005's self-titled debut, Ryan McPhun reached into his travel journals for Sea Lion, spiking the Ruby Suns' pop/psychedelia with ample amounts of African, Polynesian, and Kenyan instrumentation. The resulting album follows the recent paths of Yeasayer and Vampire Weekend by finding some middle ground between indie pop and world music. Sea Lion is an aural melting pot, with ukuleles and sun-baked singalongs sharing space alongside '80s-styled electronica and programmed percussion. It unfolds in layers, opening with the spacey Hawaiian cadence of "Blue Penguin" before segueing into two of the album's most genuine folk numbers. "Oh, Mojave" and "Tane Mahuta" are as earnest as they are indigenous, the latter featuring polyphonic percussion and elegantly harmonized lyrics sung in the Polynesian dialect of Maori. Throughout it all, McPhun weaves in modern production -- a processed keyboard here, a vocal effect there -- so that by the time "There Are Birds" introduces a bit of hypnotic dream pop into the mix, it hardly sounds out of place. The Ruby Suns still remain heavily indebted to Brian Wilson, but they largely confine themselves to his enigmatic SMiLE period, making heavy use of sleigh bells, vibraphones, and reverb-washed vocals throughout the album's second half. Only when "Morning Sun" takes an abrupt turn into Depeche Mode territory does Sea Lion falter, particularly given its final position in the track list. Listeners are left scratching their heads, wondering where the enigmatic jungle pop music went, only to return to McPhun's sunny sounds once the album reverts back to track one. Culture clashes never sounded so good.
© Andrew Leahey /TiVo

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