Review by Shannon Shumaker
So Much Light is giving modern pop a facelift with his debut album, Oh, Yuck. It’s impossible to find a simple way to describe the lush soundscapes on Oh, Yuck with just a few words, but that’s because this isn’t a simple album. So Much Light’s Damien Verrett experiments with emotional highs and lows by accenting his incredible vocal performance with a wild array of sounds on the album. Things range from the typical synth-driven new wave sound to something a little more unconventional like the choppy guitar work and woodwind instruments found on “Full Body Mirror,” or programmed orchestral compositions on “Little Fanfare” and “Let It Absorb You.”
Things start on a rather theatrical note with intro track, “New Game” which flows easily into “Little Fanfare.” The album’s first full song provides a bright, shimmering and lush sound that will easily warm new listeners up to Verrett’s creative masterpiece. Instrumentally, this song feels very warm and dreamy where lyrically, things are very introspective. Verrett plays with these contrasting sounds and emotions throughout the rest of album, as well. Then comes the unconventional “Full Body Mirror,” which really expands on Verrett’s incredible songwriting abilities. This isn’t your typical, sing along with the windows down pop track, but it’s fresh and completely unique. The multiple instrumental layers and textures of this song really deserve a few listens in order to appreciate everything fully, especially alongside the rather deep lyricism.
With each coming song, So Much Light manages to catch you off guard. When you think he’s going to go right, he goes left. Just when you think you have this unpredictable album figured out, he throws you through another loop. Even the empty feeling “Love That Never Fades” is complex and carefully constructed, somehow managing to tie in with the warm tones established in “Little Fanfare.” As different and wildly complex these songs are, they all find a way to tie together.
One of the high points on Oh, Yuck is the sixth track, “Be Afraid.” Lyrically, this song has a very dark and politically driven message which contrasts with the carnival-like instrumentals and cheering voices in the background. The result is something surreal and actually rather terrifying at times, as Verrett effortlessly blends shimmery sounds with dark themes to provide a commentary on today’s political climate. Again and again, he proves that not everything is as it seems. By the time this album comes to an end, you’ll understand just what that means.
“Artificial Sweeteners” is another strong track, as it showcases a more sensual, R&B influenced sound alongside poetic lyricism. After this song, the album takes on a more mellow and emotional tone, but fret not, the playful songwriting is still present. The vocal performance on “Flagship” is one of Verrett’s most vulnerable alongside simplistic instrumentals. Bringing things full circle are the two closing tracks, “Game Over” and “Let It Absorb You.” Mirroring the first two songs on the album, “Game Over” is an orchestral interlude that blooms into the stunning closer, “Let It Absorb You.”
By the time Oh, Yuck comes to an end, everything has come full circle. While there might not be any massive, top 40 pop hits on this album, it’s apparent that Verrett didn’t set out to create that. Instead, Oh, Yuck is surprising, thought provoking and most importantly, fun to listen to. So Much Light is the new face of pop music, and if you aren’t paying attention yet, now is the perfect time to start.
LISTEN TO “Be Afraid” or “Little Fanfare”
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