The title of
John Tejada
's 12th solo album obviously reflects life in the time of COVID-19, as most clubs around the world are closed, and being isolated from friends and family makes us feel like ghosts.
Tejada
began 2020 with the release of the second album by
Wajatta
, his improv dance duo with comedian/musician
Reggie Watts
, but with the sudden lockdown preempting the ability to tour, the producer was able to concentrate on his own studio work.
Year of the Living Dead
is similar to other
albums in how it balances accessibility with experimentation, and even though it's not as club-ready as some of his previous records, it's by no means an alienating listen. While albums like
Parabolas
and
Dead Start Program
contained tracks with bright,
Orbital
-esque hooks, this one has more pared-down, implied melodies and dubby washes, yet it doesn't feel hollowed out or less expressive. It also doesn't sound bleak or depressive at all -- the album's title seems slightly tongue in cheek, and might make the listener expect something more doom-filled. Instead, the music is representative of a period of getting used to new ways of living, with hope that things will work out eventually. There's a level of restraint to these tracks, but also a sense of trying something new within limitations and challenging previous ways and methods. Tracks like "The Haunting of Earth" and "Eidolon" contain clicking, popping IDM beat patterns and rippling echoes, and there's a warmth and human energy to them that keeps them from seeming clinical and calculated. "Echoes of Life" and "Panacea" are vibrant, glimmering 4/4 techno, and "Anchorites" channels the night-cruising feel of classic Motor City electro. With only eight focused, concise tracks,
wraps up more quickly than any of
's other albums, and not a single sound or moment is wasted. ~ Paul Simpson