Neon Indian returns with VEGA INTL. Night School

Following a four-year hiatus since Era Extraña, Alan Palomo, better known as Neon Indian, has kept avid listeners eager and ready for the follow-up to his ambitious 2011 album. Neon Indian’s upcoming release, VEGA INTL. Night School, showcases an evolution of the same kind of sound and experimentation that made his previous albums mesmerizing. The album offers a slight departure from his previous sound, drifting into an impeccable fusion of rhythmic exploration and expression. Interesting to note about VEGA INTL. Night School is the fact that it was recorded over the course of four years. In addition to providing listeners with a
one-of-a-kind disco-tech album, Palomo brings to attention a work ethic focused around intricacy — an energy that more musical artists should follow.

After opening with the intriguing “Hit Parade,” the album continues onto its first single, “Annie.” Though it is not the most interesting song the album offers, “Annie” appropriately sets up the unconditional energy that is consistent throughout the entire album. With “Annie, don’t run away / Where I can’t find you / The game has gone too far,” Palomo tells a story about a protagonist who is distraught, desperate and torn over the lack of closure between her and a former lover. Though one can easily grasp the context of the song by simply listening to the lyrics, Palomo’s voice delivers his disparity. Do not, however, mistake this for a gloomy sound. Most significant about “Annie” is the contrast between the unhappy lyrics and the feel-good sound evoked by the funky beat and danceable rhythm. Though the guitar riff may not be the most digestible sound on the track, “Annie” includes a mesmerizing breakdown in which Palomo demonstrates his ability to take control of two distinct sounds by merging them masterfully. The song’s guitar line complements a light disco beat that constantly demands attention. “Annie” sets up an animated listening experience that is further explored.

Amid a collection of spunk and attitude, some of the tracks stand significantly  on their own. Take for example, one of the highlights of the album, “Slumlord.” As VEGA INTL. Night School’s most recent single from the album, “Slumlord” rightfully represents such a vibrant album. The track begins as a collection of several synths, illustrating a celestial, cosmic portrait that should belong in a science fiction film. The song generates a massive amount of energy, and that’s just before Palomo’s voice joins the retro-futuristic groove. Palomo’s animated voice provides another highlight to the song, making for a captivating chorus. The intonation of his vocals, when layered over a hypnotic whirl of pop-perfection, is when Neon Indian’s brilliance really shines. The track continues onto a breakdown, transporting audiences to a massive celebratory frenzy. This song abounds in Palomo’s signature synths, reminiscent of ’80s dance music.  Whether it’s one song or another, VEGA INTL. Night School demonstrates the power of a carefully designed production.

A significant quality about each of the songs on this album is how a single sound develops in the span of under five minutes. The unpredictable structure of these songs make for an exciting, engaging and creative experience. Most of the songs feel distinct enough from one another. However, they all contribute to the feel-good atmosphere of the album that leaves one feeling on top of the world.

One of the most striking aspects of VEGA INTL. Night School is how Palomo manages to vocally express himself so well that audiences do not necessarily need to know his lyrics to understand how he feels. Such vocals are significant enough to add a touch of life to the already irresistible tracks, but they don’t direct attention away from the soul of the music: the instrumentals. Palomo does, however, assure listeners that his voice is perfectly suited for pop.

Though the album allows plenty of opportunities to showcase talent, other aspects of the album do not feel as polished. Palomo’s voice, as lovely as it is, is often difficult to hear under the heavy beats, making it impossible to know his lyrics. That being said, these songs do not fall flat; instead, Palomo’s light and expressive voice is shown to be as versatile as his collection of instrumentals, which range from funk-guitar lines to sounds suited for an island getaway.

As lively as tracks such as “Bozo,” “Dear Skorpio Magazine” and “Street Level” are, the album loses adrenaline as it approaches the final song, indicating that perhaps the album is one or two songs too long. In addition to potentially feeling overwhelming by the end, the album’s energy dies down with the placement of “61 Cygni Ave.” The track is surrounded by such magnificent pieces, which makes it feel insignificant as the penultimate song on the album. Nevertheless, the first half of the album was put together very beautifully, with the songs transitioning seamlessly.

VEGA INTL. Night School makes for an experience that is as appealing to the ears as it is to the mind. There are many moments throughout the album in which the production is both top-notch and unique to Neon Indian. “Street Level,”  for example, is a gem that fuses hip-hop and funk, creating a one-of-a-kind sound suited for the album. Whether it’s that, the prominent drums in “Slumlord” or the break down in “Dear Skorpio Magazine,” Palomo constantly shows how to take control of multiple sounds that may not necessarily be immediately related. VEGA INTL. Night School can best be summed up as a collection of various sounds that effortlessly represent Neon Indian’s creativity at its most passionate. If it takes four years to make an album that is as close to pop perfection as VEGA INTL. Night School is, then more artists should allow their creative clocks to tick.

VEGA INTL. Night School will be released on Oct. 16 by Mom+Pop Music.