For his fourth album, *Alex Izenberg & the Exiles*, Angelino Alex Izenberg revisits familiar inspirations such as philosopher Alan Watts, the literary influences of King Crimson, and vintage psychedelic and Baroque pop. This time, however, the album is his most collaborative effort yet, featuring expansive, improvisational band arrangements with a wide array of contributors. Among them is Phil Ek, known for his work with Built to Spill, the Walkmen, and the Shins, who was sought out to mix the record, inspired by his work on Fleet Foxes’ *Crack-Up*.
The album’s title, *Alex Izenberg & the Exiles*, and its cover art—depicting a solitary Izenberg adrift in a rowboat—inject poetics before listeners even press play. It begins with 40 seconds of wind chimes, homespun percussion, vocal warmups, and other sounds, setting a stage for the opening track, “The Gospel of Exiles.” This warm, All Things Must Pass-era evoking song establishes the psychedelic AM pop atmosphere that permeates the album. Although not fully orchestral, the track’s layered design includes a horn section, impromptu rhythm piano, slide guitar, lyrical lead guitar, soft-focus backing vocals, and continued percussion clatter.
Dreamy, relaxed tempos characterize the album, along with poetic titles like “The Wraith Behind Our Eyes” and “As the Dawn Serenades the Dark.” While the album lacks foot-tapping playlist material, it functions more cohesively as an album than a collection of individual songs. Subtle standouts include the strings-enhanced “Only the Moon Knows,” partly group-sung and brightened by harmonic guitar riffs and romanticized by lyrics like “The iron hand of death in a velvet glove” and “Talking to the wind through the smoke.” Alex Izenberg & the Exiles is an album for late nights, back porches, and lonely weekends, offering another intriguing entry in the growing catalog of a distinctive music personality.
English