PSYCHEDELIA has been known as the biggest hotbed of creativity and homestead of the most madcap artists ever since it became something of a youth movement during the hedonistic days of the 60’s. With more artists than ever re-embracing its flagrantly unpredictable nature and lax stance upon what parameters a musician’s output should possess, it should come as no surprise that one of the best of the modern pack has went outwith what is expected of them to produce something truly unique.

Upon their newest record Multi-Love, Unknown Mortal Orchestra have more than demonstrated that they won’t be constrained by any characteristics that had previously been at the forefront of their material.

Jaunty electronic organ chords accent the opening strains of the album’s eponymous track, with frontman, creative force and vocalist Ruban Nielson’s affected phrasing  and passive, borderline falsetto adding a hint of modern R&B to their repertoire that hadn’t been present on previous records; setting the tone for the many unexpected detours that are made throughout.

As hinted toward within its title, Nielson makes the first allusions towards a polyamorous relationship within its accompanying lyrics, stating that; ‘multi-love’s got me on my knee, we were one then became three.’

Derived directly from a situation that unexpectedly surfaced within his personal life, he utilises this record as a vehicle to both assess the many trappings of such an arrangement and document its true form.

The expansion of what was their much-adored trademark sound is truly  a crucial aspect of the album, serving as the site of  all manner of digressions into new terrain.

‘Like Acid Rain’ contains the eccentric spirit and funk helmed sound that was a feature of Stevie Wonder’s golden age; a period which encapsulated records ranging from Music Of My Mind to Songs In The Key of Life.

The LP from the aforementioned era in the legendary artist’s career that  appears to have had a profound influence upon the band’s latest offering is undoubtedly Innervisions; in many ways a psychedelic voyage in its own right that has long been renowned for its lavish sound and use of enticing vocal melodies.

These motifs continue upon ‘Ur Life One Night’, with the kind of warped and hard hitting percussion that became a staple of Prince’s 1980s material thrown in for good measure.

Despite the fact that much of the album may wear a new set of influences firmly on its sleeve, UMO have accomplished a great deal more than merely faithfully rehashing its inspirations, infusing many of the overarching elements of previous LP’s into this collection as demonstrated within both its instrumentation and signature nuances.

‘Can’t Keep Checking My Phone’ opens with jazzy horns and a more restrained atmosphere before lurching rhythms, deep bass and boisterous guitar soon take over. Lyrically, the track features some of the record’s most interesting and insightful verses; providing a look into the painful nature of the longing that Nielson has underwent toward the absent third side of the triangle that formed his newly defined home life.

The haunting saxophone of ‘Extreme Wealth and Casual Cruelty’ lends itself nicely to the much denser, pyschedelic sound that is displayed; resembling the often overwhelming output of contemporaries such as Goat.

The smoother and more refined aspect of the LP re-surfaces upon ‘The World Is Crowded’, expressed as a laidback slow jam. Discussing the manner in which people manage to stumble upon their kindred spirits in such a vastly populated society, he ponders what his true role is in the life of the almost mystically described figure that entered his world and dramatically altered every facet imaginable.

‘Stage Or Screen’ is initially a pleasant, bass-heavy track that resembles the work of Thundercat, with lyrics alluding to concepts of everyday deceptions and the portrayal of a public persona.  Suddenly, It is all at once abruptly uprooted and placed within the realms of ambient music; with emotionless synth bursts and cinematic textures.

The album’s closer ‘Puzzles’ possesses a hulking and robust sound that appears to be designed to impose itself upon the listener, regularly flitting from momentarily sedate to something altogether more aggressive. Featuring strutting riffs that resemble classic rock figures as well as interludes that lean toward the classical Spanish acoustic style; it keeps the listener on its toes; with the conflicting elements mirroring the troubled and restless mind of its architect that are exhibited throughout this remarkable nine track collection.