Fast Idol

Even though Black Marble's Chris Stewart has expanded his sound -- and moved his base of operations from New York to Los Angeles -- he's still very much in touch with his music's roots. On 2020's covers EP I Must Be Living Twice, he revisited key influences such as Wire and the Field Mice; on the full-length Fast Idol, he returns to the intuitive songwriting of his earliest work. While the more detailed approach he took on Bigger Than Life gave extra depth to that album, Stewart's impressions and snippets mesh well with Idol's hazy, retro-futuristic synth pop. On songs such as "Bodies," the more general vibe of bittersweet reflection is a perfect fit for the nostalgic sonics. Even more so than on Bigger Than Life, the tones and production touches Stewart uses carry the songs' moods. Fortunately, they're eloquent. The sunny bounce of 'Somewhere" and "Ceiling"'s radiant guitars give a more hopeful cast to the album's yearning, while "Brighter and Bigger"'s wavering washes bring things to a close on a note of ambivalence. Fast Idol's brightest highlights occur when Stewart adds more twists and embellishments to this mood of longing and uncertainty. Set to a decaying waltz beat and encompassing field recordings of a crowd and hand drums along with cut-glass synth tones, "The Garden" is one of the most arresting songs here. Similarly, "Streetlight"'s surprisingly funky keyboard melody helps make it both brooding and lively as it dances in and out of the shadows. While more structured songs such as "Ship to Shore" and "Preoccupation" are also among the album's strongest moments, Fast Idol is all about mood, and it's got plenty to spare. ~ Heather Phares