Water From Your Eyes’ Rachel Brown and Nate Amos are no strangers to contradiction, with Pitchfork making note of their “confidence in splicing different genres and feels from acoustic twee to indie-electronica” in their review of 2019’s Somebody Else’s Songs. So, upon first listen, Structure – with its tendency to turn on a dime from the buzzsaw synths and string arrangements that sonically bookend tracks like “My Love’s,” to the subtle, almost Squarepusher-esque rhythms that round out electronic compositions like “Quotations” – may just seem like a further refinement of the duo’s idiosyncratic approach to making music. However, repeat listens will reveal that, even though the album zigs and zags in a manner consistent with their prior releases, its line of best fit trends in a very clear direction away from the quaint affectations of their prior work and towards something more deliberate and half a shade darker. Even on ostensibly cheery tracks like album opener “When You’re Around,” which, with its saccharine melodicism sounds like it could be a lost song from The Apples in Stereo or one of their Elephant 6-era labelmates, there’s an underlying eeriness that’s not immediately apparent until the song is listened to in the context of the full album. Amos’ advice for navigating Structure’s sonic terrain is to “remember that this is weed music,” while his counterpart Brown offers that that the album is like “solving a puzzle with a ton of different answers.” Although these varied descriptions of how to approach listening to Structure may accurately reveal it to be another exercise in contradictions, the clear intent with which the pair approached creating the album can only be appreciated with repeat listens, and is likely what makes it, by far, their most compelling entry to date.For fans of LCD Soundsystems, New Order, Lily Konigsberg, Scott Walker and Four Tet.
