Dutch Uncles are a band that started out writing finicky songs in odd time signatures for, it seemed, no other reason except that they could.
They’ve evolved quite a bit, but still retain a penchant for songs that groove in unconventional ways, shimmery guitars and synthesizers, and airy, sparse melodies that flit back and forth in their songs. Out Of Touch In The Wild, the band’s third album, exemplifies most all of what the band does well, as well as venturing into more accessible territory than they ever have. One of the strangest things about Dutch Uncles is their affinity for giving their songs perplexing names, which include: “Bellio,” “Zug Zwang,” and “Phaedra.” After the gentle opener, “Pondage,” Out Of Touch In The Wild dives into a wash of playful funk in the tracks “Bellio” and “Fester,” the former featuring a rapidly moving bass line, the latter a jumpy marimba sample, and both accented with splashy synthesizers. They’re not straightforward, no, with cryptic lyrics and tense chord changes, but both are remarkably danceable for a band that tends to avoid conventional rhythms.
The album continues in a sort of regal strut through the echoing guitars of “Godboy” and rhythmic marimbas of “Threads” toward another of its high points, single “Flexxin.” The delicate opening strings give way to ringing guitars and tambourine shakes, as singer Duncan Wallis floats over the arrangement singing of reaching out to a significant other and putting arguments to rest.
The song is many times more graceful than its title implies, and ends on a gentle string chord, as the next song, the pensive “Zug Zwang” fades in with rich string chords and a carefully syncopated piano and drumbeat drive it forward as cellos carry the bassline. The song grows quite gracefully as Wallis’ airy voice darts between notes, leading up to a remarkably poetic moment, proclaiming “when / you’re free / like the blood inside me… / you can feel my chains.”
The album closes with “Brio,” a triumphant ride through fuzzy bass, syncopated guitar and tender strings that builds to a climax of feedbacking guitar chords that reach upward as a synthesizers and a repetitive bassline continue to chug along; and then, it all drops out, as if falling over a sudden cliff. It has a few weak points, songs where the band gets lost in its arrangements and complex chords, but throughout the band sounds comfortable and even inviting. Out Of Touch In The Wild excels at uniting odd grooves and melodies with delicate, flowing arrangements, and though you might not enjoy it, it sure does something unique.