Ginji drops one of the most entertaining and original records of the summer with In Mauve, the project’s lates full length. We premiered the music video “Wither” last month, where we heard undeniable growth in the application of Ginji’s reliably cloudy, atmospheric moods.
Opening combo “Sun Parched” and “Lilac” have some superior acoustic melodies, backed my crooning woodwinds and brass. Math rockers will find a lot to dig into here, from the looping guitars, bouncing percussion, and overall youthful energy – even when it’s trying to relax, In Mauve has a lot to say, and we’re all too happy to listen. But even if you’re not looking for math rock, and just want some music that’s familiar yet thinks outside the box, Ginji might be just what the doctor ordered.
As far as the instrumental music of 2021 goes, you’re not going to find much catchier than you do here, yet it’s never glaringly obvious. Much like this year’s standards‘ Fruit Island, there is so much pleasantry on the surface to be found that it takes repeated listens to appreciate all the different layers of arrangement that must have gone into the process. Even when the drums are simple, four on the flour stacks of pancakes, “Shoal,” and “Burnt Shade” wander the same footpaths of lush, warped electronica through their prog-hop drums and low-key altered samples that single “Wither” displayed, reminding listeners of the best parts of Yvette Young‘s solo, mostly acoustic output.
In Mauve is positively crawling with ear worms and hooks. “Iika” and the title track are indisputably tinged with shadowy shades of autumnal post-rock, jazz and funk. The entirely string section based “Oneiric”‘s tense, dramatic, delivery makes way for the record’s first single, and things have come full circle. We enjoyed “Wither” on it’s own, but it makes for an even more satisfying outro to an album filled with the same kind of magic.
Ginji puts his growth as a musician on full display here, soaring high above the expectations of long-time listeners, but staying true to the project’s original output as well. Lord knows main composer Nathan Gass is talented enough to play whatever he likes, so it’s great to know that underneath all of that innate talent lies a fascinating perspective, and knack for sonic storytelling.
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