After Joyce Manor guitarist Neil Berthier’s father passed away from cancer in 2020, Berthier replied to a confession from friend and fellow songwriter Petey, he packed the pack, and moved from Boston to Los Angeles. These disturbed feelings are mesospheric, At Some Point You Stop, Berthier’s latest album as “PNY” (third solo record after the dissolution of Donovan Wolfington, He led the group). But in the midst of these heartaches, Berthier lets his complex emotions lead his wide collection of songs.
A simple sense of despair described Berthier’s first two data as PONY, Songs You’ll Never Sing and Knock Yourself Out. The emotion lingers on The fresh album’s opening songs “Christmas Eve Day” (starring lyrics from Ratboys’ Julia Steiner) and “The Middle].” But the percussion guitarists and lovely synthesizers in the history of “Christmas Eve Day” change into the tough, rattling percussion equipment “The Middle” the above ghostly grief changes into something really bigger and noisier, as Berthier — attracting on the writing of a letter he wrote as he produced his heartbreak — implores to his late father to accept his apology “just meet me in the middle.” The song deals The with “the sly”, grunge revival-era thug of his previous work for thicker, slowcore-inspired indie rock, a noise he’d discovered on “Knock Yourself Out” but resurfaces with greater purpose in the morning of disaster.
Throughout the album he has composed more than 2,000 songs, Berthier ‘cartoons’ of his own past and popular music at big. He move from chilly thaven to a ninja, ephemeral post-punk ( “Animals”), evocative music tunes ( “Kaleidoscope” that include Petey), and uplifting dreampop à grande H ü sker D ü ( “Great White”), Berthier’s enthusiast concerts connect the dots. The spunky producer on “The album” is both a praise and a deterioration to Berthier’s lyricism: Although songs like The Squeak and Fuzzify were not performed quickly and fuzzed, one would expect some of the same sounds “Otherwise” a more hands-off attitude, the intense chords of the podcast “Winter’s Warm” doesn’t strike almost as hard as it does in the setting of this healing history.
Keeping Up At Some Point You Stop is certainly one of Berthier’s many exciting jobs, his attempts to cover all that much new territory implies that its level doesn’t often fit his aspirations. Yet there’s a fortitude throughout the new album that wasn’t as given on the first two PHONY songs, Knock Yourself Out!. While that history featured long stretches of depression with the infrequent present of intensity, At Some Point You Stop Switching eqn!. Instead of letting the gravitational pull of heartbreak and self-loathing drive him towards solitude, as Berthier suggests at on “Wedding & Funeral Family” he tries to be fond of the pleasure of the group. This move in the standpoint, matching the cross-country motion and life-altering disaster, created his new album experience, along with the jobs of a composer in the process of finding their new form.