Jason Legacy’s choice of album title alludes to the madness of modern life in a way that I’m sure we can all relate to. Of course, this is his take on the mayhem of contemporary life; the crash landings are his own, the coincidences pertain directly to him, and the chaos his own personal brand, but, while the songs here come from a very personal place, they are mirrors in which we can all see ourselves, to some degree or other.
There is a confidence running through Crash Landings, Coincidences, and Chaos, one that enables him to wander across the musical map, trying out all manner of sounds and styles and doing so without losing hold of a cohesive core sound.
You could say that there is an alt-pop/indie root to the music here, but even that is suitably broad enough to let him test, hop, swerve, and occasionally totally ignore the boundaries of such genres.
“Red Flag Surrender” echoes the sort of alternative pop-rock that R.E.M. might have come up with in their early days, and as opening references go, that isn’t a bad place to start. “Voice in My Head” runs on a gloriously gloopy bass sound, a sort of post-punk-funk sound being subsumed into an indie soundscape.
“Betsy is a Caveman” is a new wave take on classic rock and roll, “Insane Fucker” skirts the fringes of B52’s and there is also room for more understated songs such as the subtle and sweet sound of “Whatever It Is We Are Today.”
This is Slow Buildings seventh album, and although this is my first encounter with them, it is enough to make me immediately want to check out their back catalog; the quality and deftness of the songs found here can hardly be a fluke. I’m off to do that now, and you should, too.
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