Humanhood acts as a third instalment in a trilogy of albums where Tamara Lindemen and her band can't seem to get enough of this art pop, jazz, psych experimental direction. The craftsmanship is still a marvel to listen to, even if it feels like a little bit of déjà vu.
The Weather Station is a Canadian musical project led by singer and songwriter Tamara Lindemen. No, it's not a department within the U.S. government that's getting currently gutted as we speak, but rather a folk musical project that consistently flew under the radar until recent years with 2021's Ignorance and its follow up, 2022's How Is It That I Should Look at the Stars. Lindemen's work finally took notice to me once Ignorance was getting massively hyped by critics across the music press. Ignorance definitely deserves all the hype and attention, with Lindemen trading in her folky, acoustic rock roots for more art pop and earthy jazz and psychedelic experimentation. I loved that record and still do, despite it missing my vicinity the year it dropped. Its seamless track listing, great emphasis on groove, where any of these songs can be a hooky, sticky single along with her mellow, toned down voice and the hypnotic, well detailed backing band makes it a marvel to hear again and again. Her follow up Look at the Stars released the following year is a solid follow up that continues in a much quieter and more sparse direction, as if an epilogue to Ignorance rather than a sequel.
Curious to hear what Lindemen and her band does next, I awaited for Humanhood, her seventh studio album and third release within this art pop, jazz, psych experimental direction that she and her band can't seem to get enough of. I mean, why change the recipe if the meal keeps tasting great? The Weather Station continues not only in a sonic direction but also in a visual one; even the cover art continues her embrace within nature in a psychedelic and moody aesthetic. Initially, I was kind of surprised she would continue down this road, since I initially thought that this sound and style has been explored quite thoroughly with her last two records. But once I put those headphones on and pressed play, I began to remember why this trajectory of theirs was so great to listen to. Humanhood goes in a slightly more experimental and artful territory with some drone, electronics, and looping sounds woven into the fabric she's already laid out. These additions are all done in a subtle and seamless way, where you can definitely hear Humanhood as the third addition to this trilogy of albums.
There are interludes scattered throughout the record, making it more of an album experience this time around than earlier records (not that they weren't already). To be honest, they are cool, acting like just extensions into songs that secede them but aren't exactly anything more than that. Which is totally fine, since these songs themselves do excellent on their own. "Window" is an explosive single which highlights Lendemen's beautiful, elegant vocal range and sense of melody. "Neon Signs" introduces the album in appropriate and familiar fashion and its woodwinds are a nice addition. "Mirror" adds some solid variation with its playful piano, almost hip hop styled drums. It's very Fiona Apple, like When the Pawn... era. "Passage" floats into "Body Moves" with its glitchy electronics into a sharp, classic Weather Station tune that leans into a hypnotic sax solo in the second half. "Ribbon" is a classic piano ballad. What can I say, it gets the job done. The title track goes for a groovier approach in its percussion, morphing saxophone playing, and some surprising additional banjo. "Irreversible Damage" goes for a Radiohead Kid A style, moody, icy electro jazz music and is by far one of the weirdest tracks Lindemen's made. It's for sure a highlight and a refreshing attempt at pushing this sound. "Lonely" is a pretty, somber ballad that works well and eloquently with its sparse jazz elements. "Sewing" closes the album in its six minutes of patient, slow burning pretty balladry.
I'll be frank: even after reading this previous paragraph, if you've heard the Lindemen's previous two records and what The Weather Station's been doing over the past five years or so, then Humanhood shouldn't come as any surprise aside from some little flutters of experimentation here and there. Although not as strong or memorable as Ignorance, there's still a strong set of songs here. Lendemen's singing, the band's performances and overall atmosphere they create are still wonderful to hear even if it feels like simply another helping of this sound they've been focusing on for years. The craftsmanship is still a marvel to listen to, even if it feels like a little bit of déjà vu. I recommend Humanhood for the fans out there who are still wanting to listen to more of this era of art pop and jazz the band has been making. Otherwise, for those newcomers just casually strolling along, I'd recommend getting into Ignorance first if you're curious. If you're digging it and want more, then I'll suggest Humanhood, and then Look at the Stars.
My Rating: 7 / 10
Favorite Songs: "Window", "Neon Signs", "Irreversible Damage", "Humanhood"
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