The latest phase of Ruben Nielsen’s psychedelic experiment explores love, loss and his Hawaiian heritage
When Unknown Mortal Orchestra first surfaced in 2010, it was nearly impossible to find out anything about the person behind the music. The name UMO itself was obnoxious, while that year’s self-titled debut EP – a four-song clash of lo-fi punk and throttle funk rhythms with a skull graphic on the sleeve – left much to the imagination. It was an artistic mess: a record with a magical vibe that left the impression that some great undiscovered talent was behind the songs.
Now, 13 years later, we know a lot more about Ruben Nielsen. Over the course of four albums, as well as 2018’s instrumental jazz LP ‘IC-01 Hanoi’, he has amassed a catalog that fetishises the guitar, is rooted in punk and psychedelia, and explores his inner demons. The project peaked in 2015 when the poppy, rhythmic overload of ‘Multi-Love’ exposed Nielsen’s polygamous relationship with his wife, Jenny, and a woman he met on tour.
Perhaps this kind of candor was always destined to escape: Nielsen writes too candidly about feelings to remain hidden behind tape hisses. ‘V’, their fifth full-length record, supports that idea. With 14 tracks and running over 60 minutes, it is the first UMO double album and guarantees extra space.
After leaving New Zealand for Portland after a UMO flight, Nielsen found herself drawn back to her family, which also has roots in Hawaii, in 2019 when one of her uncles was diagnosed with cancer. Nielsen spent time with his family in Hilo, dividing his days between there and Palm Springs, where he had bought a house. The resulting record – which also features Nielsen’s father, along with his brother and bandmate Cody – has a sun-baked sound, informed by raucous AM radio, Nielsen outdoors with his parents under pink skies. Hear (who was also a performer) as a child. ‘V’ is all palm trees, pools and pain.
“Hold on tight ’cause it’s violent after dark / In the garden,” Nielsen sings on opener ‘The Garden’. A classic UMO groove, it kicks in at the six-minute mark and sets the tone for an album that takes its time. ‘Guilty Pleasures’ meanders into meshgaggah that, along with ‘That Life’ and ‘Weekend Run’, emerge as the album’s anthems, all built on punching drums and guitar licks (Nielsen’s Jimi Hendrix fixation right now). also remains intact, as does his obsession with vintage instruments and building his own pedals).
As ‘V’ unfolds through no fewer than four instrumental pieces, the second half slows down, with quieter ballads like ‘Layla’ and ‘Nadja’ inviting listeners to contemplate Nielsen’s side. In the end it’s a masterpiece experience, one that’s incredibly ambitious with just the right amount of self-indulgence. Throughout Nielsen’s career, there has been an idea that UMO could compete with Bruno Mars if he cleaned up the production, but then that would be a huge shame. Nielsen continues to grow amid the mess.
Details
Release date: March 17
Record label: Jagjaguwar
