Samuel Milton Grawe's third solo full-length as
Hatchback is filled with the sort of lush, relaxed, expansive grooves listeners have come to expect from him. His music has always seemed tailor-made for a grand vacation into the tropics, either in real life or in spirit, and
Year of the Dragon is no different. As its title alludes, this one has more of a Far Eastern flavor than his other outings, adding the influence of '80s Japanese pop production to his usual mix of Krautrock, new age, Balearic disco, ambient, and related styles. "Haiphong Boogie" overtly displays this influence, with echoed koto-like melodies drifting above the straightforward yet subtly detailed beats and bubbling sequencers, creating an energetic yet mellow mood. It's easily the album's most danceable track, as the others are slower and less focused on propulsive beats. The album isn't quite as meditative as
Hatchback's new age exploration
Zeus & Apollo, although the extremely languid 15-minute guitar-scape "Onarimon" comes close. "Evening Mountain" is an enjoyable meander filled with gauzy synths, gliding guitars, and Fourth World saxophones. "Creamwave Dreamcave" has a gently flowing midtempo beat and sweet melodies that are embedded with a slight tinge of nostalgic melancholy. A similar mood is more fully explored on the concluding track, "Year of the Dragon," a 12-minute post-rock slow boil that begins with a crawling beat and a dusty, lonesome guitar melody along with softly percolating synth arpeggios. As it progresses, it adds a more pronounced beat and fretless guitars, gradually growing richer and more expressive. Finally, it takes off into a faster rhythm, with more laser-like synths and slightly rougher guitar tones blasting outward. The album ends up a little cloudier than it might seem at first, but that's not meant as a criticism by any means. The hints of wistfulness make the album a bit more believable than if it were a montage of never-ending beaches and perfect sunsets. ~ Paul Simpson