In place of a bio on his Bandcamp page, Los Angeles based singer-songwriter Joshua Allen who performs under the moniker Mountain Projector, has this quote from German philosopher Friedrich Nietzsche, “In the mountain of truth, one never climbs in vain, you either reach a higher step today or exercise your strength to climb higher tomorrow.” The seven songs on his soft spoken dream pop debut Geometry, seem to reflect this idea of either gaining a foothold on the day which will make tomorrow better, or a day spent working to eventually get to that higher step.
But Geometry as Mountain Projector imagines it will be twofold eventually having animated videos to accompany the songs and during live performances to have stage theatrical settings and costumes. It is yet another element of Geometry to keep in mind while listening.
Geometry begins with the gentle and airy “One Nine Five Two.” It bobs along with a mellow and slightly jangly feeling. A well-placed trumpet and a wonderfully eerie organ complete the picture. Next “Lost Girl” is a soft, sad and super catchy self-conscious pop tune that reminded me of the wonderful minimalist Tobin Sprout. Mountain Projector delves even more into the experimental pop world with the eerie and schizophrenically melodic “Grandmothers Temple.”
Mountain Projector takes Geometry on a quest of experimental ambience with quick beats and spooky vocal samples on “Imperial Sacrifice.” He then delves into a bit of darker territory with the harder sounding “Wedding Ring,” a song which beckons for the aforementioned video and theatrical stage background. As it moves on it recalls ‘90s club maestros like Underworld. The darkness follows and is swallowed on the albums most personal offering “Backseat Adventures.” It seems at time both simple and intricate, due to its layering effects and the way that it moves from a beginning darkness but finishes on a note that feels at least a bit brighter than where it came from.
Mountain Projector’s Geometry draws you into its dark and dreamy and oftentimes experimental landscapes rather quickly and rather easily. And once you’re in the midst of these landscapes you are there until the end at which point you just want to get right back in line and ride the ride all over again.
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