Blood Orange - Coastal Grooves

Dev Hynes’ return is not marked with an acoustic strum, nor a broadway chime, but with staccato guitar and a wistful croon. Having made a name for himself as a master of regeneration, Hynes is now dipping his toes into a fourth genre of his choice. First came the neon-punk of Test Icicles circa 2005, then came the country folk of Lightspeed Champions debut album, followed by a theatrical turn in the form of last year’s ‘Life is Sweet! Nice to Meet You’. And now for something completely different.

You can picture Dev lounging in his NY pad, knitting a distasteful jumper, or testing which Hipstamatic lens makes him look more washed out until he has a eureka moment. ‘I know! I’ll make an unashamedly 80s pop album, inspired by the underground clubs of New York and the thriving transsexual culture in the city during this time.’ I can’t read minds, but I know this is how it played out in your head too. We should have seen it coming. Even before Lightspeed’s second album was released a free track titled ‘Heavy Purple’ was released onto the web. This Princely jam illuminates the hazy path between Lightspeed Champion and Blood Orange, and was a clear indication of what was to come.

On opener ‘Forget It’ muted guitars cushion Hynes’ newfound croon, a song which showcases Dev’s knack for writing a catchy pop tune; lest we forget he wrote a significant portion of Florence’s extraordinarily popular debut. ‘Sutphin Boulevard’ follows, as it struts effortlessly in and out of focus, again exhibiting the versatility and strength Hynes’ voice has gained over the past year. Meanwhile ‘S’cooled’ is a reverb laden 80s funk-out indebted as much to early hip hop as it is to Prince, the rich tapestry of influences on this track alone show the authenticity of Blood Orange. Dev Hynes does not simply throw on genres like a fresh pair of socks, he genuinely has a deep interest in every one he’s invested into.

It’s a few tracks in when you start to notice this album’s one flaw, it could be said that ‘Coastal Grooves’ leans too heavily on the aforementioned pizzicato guitars and effeminate vocals. This mid-album drag is what prevents it reaching the heights of Dev’s solo debut ‘Falling Off the Lavender Bridge’, but by no means does it condemn this album. The tail end features the beach romp of ‘The Complete Knock’, which breaks into a minute and a half long instrumental jam, complete with synth solo and Beastie Boys robotics. Another late highlight is ‘Are You Sure You’re Really Busy?’, a slow burning tale of heartbreak which is home to the album’s best lyric; “what’s in this for me? Just get the fuck out of my house.’ Piano chords and frantic guitars pave the way for an oh-so-essential guitar solo which is just the icing on the period-pop cake.

While this may be an album more concerned with aesthetic rather than consistency you can forgive Dev for getting a bit carried away. ‘Coastal Grooves’ is the personification of a strong vision in Hynes’ mind, and perhaps it’s about time we stop piling our high expectations of a masterpiece onto each consecutive album he produces. We know he isn’t a one trick pony, and we know he isn’t a faker; the question is, what is he?