Indeed, in many ways, hybridity defines House of Sugar. Throughout, the multiplicity of Giannascoli’s voice evokes the hybrid existence of a science-fiction creature, at once human and something else.
This includes not only the otherworldly vocals that haunt songs such as “Walk Away,” “Taking,” and “Bad Man,” but also the more subtle hums and echoes that texture “Hope” and “Gretel,” and the distorted soundscapes into which listeners of “Sugar” and “Near” are immersed. In addition to bolstering the rich, polished mix of its rock-oriented songs, the new equipment allowed for a broad range of unique technical experiments that provide each track emotional and tonal complexity. The new mic, coupled with an updated version of Garageband that came with a replacement laptop, provided Giannascoli a new toolkit for home-recording, prompting him to analyze the types of sounds he’d been making and that he wanted to make. Giannascoli recorded with a clone of the Neumann U87 microphone, built by Tom Kelly-the first time he’d ever used a microphone other than the Samson Q1U USB mic that he got as a teenager. Which is to say, “cohesive” doesn’t imply that House of Sugar dispenses with the out-there sonic adventurism that’s made previous Alex G records so singular. As the product of extended focus and planning, House of Sugar emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures. Throughout the process Giannascoli worked closely with Jacob Portrait, who mixed both Rocket and its predecessor, 2015’s Beach Music, and here helped to balance each of House of Sugar’s dense, multi-faceted tracks. Whereas with earlier efforts, such as 2011’s self-released Winner or the landmark 2014 release DSU, he’d write numerous songs fairly quickly, with House of Sugar Giannascoli worked at a steadier pace, concentrating on fewer songs and laboring over each one more than before.Īfter building the tracks at home, recording most of the guitars, keyboards, and vocals himself, Giannascoli enlisted some recurring bandmates and collaborators to help realize further aspects of the album: Samuel Acchione’s wailing electric guitar on “Walk Away,” John Heywood’s bass underneath “Taking,” Tom Kelly’s drums giving “Hope” its bounce, Molly Germer underscoring “Southern Sky” on violin. Giannascoli began writing these songs in the fall of 2017, having just finished a tour for House of Sugar’s acclaimed predecessor, Rocket, and moved into a new apartment in Philadelphia. On House of Sugar, his third full-length for Domino and ninth overall, Alex inhabits a diverse range of musical and emotional points-of-view (often simultaneously), in turn illuminating the tension that hides in the shadow of desire. It’s in this space that Giannascoli-the 26-year-old artist better known as Alex G-lingers throughout the album’s thirteen songs: between backwards and forwards, past and future, one voice and another. In the repetition, emphasis shifts from “someday” to “not today" and back, leaving the listener in a space of uncertainty. “Someday I’m gonna walk away from you,” he sings “not today.” These are the song’s only words, repeated again and again for more than four minutes. The distended, pitched-up wail that introduces the track gives way to cascading layers of his more familiar intonations. There’s hardly a second when Alex Giannascoli’s voice can’t be heard in “Walk Away,” the opener of his latest album, House of Sugar. If you are unable to provide digital proof, physical proof is also accepted.
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