Year of release: 2018
Upon a cursory listen of weirdo power duo Cate Le Bon and Tim Presley's latest album under the DRINKS moniker, Hippo Lite, one might be inclined to mutter, "yeah, but where are the songs?"
Of course, such a response is intentional, seeing as how both Le Bon and Presley have spent the better part of their respective career's banging out experimental psych/freak folk/garage rock. Presley has mostly recorded under the name White Fence (though he did have a stint in the reformed version of The Fall before Mark E. Smith's passing) and has collaborated with fellow psych rocker Ty Segall on multiple occasions. Le Bon, on the other hand, has used her wispy voice and angular guitar work to carve out her own idiosyncratic niche with a series of solo albums. The duo's previous team up as DRINKS was 2015's Hermits on a Holiday; a combination of freeform post-pop shronk that sounded like two outsiders having a blast without limits. With Hippo Lite, the lack of traditional songs is even more intentional; playing like a warped children's album assembled by a couple of stoned adults caught in a feedback loop.
It's hard to articulate a record feeling so playful when things sound this off-kilter, but Hippo Lite is bursting with fun, and at times baffling, sonic arrangements. Opener "Blue From the Dark" has an acoustic lullaby vibe coming out of a broken music box. "Real Outside" struts and slithers with a rudimentary electronic beat, out of tune guitar, and Le Bon's humorously detached vocals. "Corner Shops" is a deconstructed funk song; complete with a bobbing bassline and (almost) danceable groove. And then there's the in-joke "Ducks", with it's broken clock noises, bizarre guitar arpeggios, and near incomprehensible lyrics. Cuckoo is a tame word for it.
Fortunately, a tune like "Ducks" is something of an anomaly in an otherwise brilliant, though undeniably strange, record. There's something inviting about Hippo Lite, something that resists easy classification, something that draws you in even as it purposefully pushes away. With Presley and Le Bon as wayward guides, experimental pop (?) has never sounded this antagonistically welcoming. Let that freak flag fly.