The second album from the brain child of Jake Webb, Methyl Ethel, is certainly a journey into psych-pop. The Aussie duo’s second album, Everything Is Forgotten, is an expansive example of experimentation at its finest.

It’s hard to deny that indie giants Tame Impala paved the way for progressive indie in the Aussie market. Out of this wonderful revolution came Methyl Ethel, a Perth-based trio fronted by Jake Webb. The band begun as Webb’s solo project, recording tracks in his bedroom, but has naturally evolved into a fully fledged band that has already toured with the likes of fellow Australian Courtney Barnett.

Their debut album, Oh Inhuman Spectacle, released in 2015, received mixed reviews and was described as a generally robust album with sprinklings of cosmic-experimentation or “dream pop for insomniacs”. This upcoming second release, Everything is Forgotten, is an impressive development from the first that appears to take creative criticism head on. Curiously, Webb said in interviews that he had already finished the second album in 2015, so the perfecting of Everything is Forgotten undoubtedly took some time.

Producer James Ford, who has previously worked on albums with Arctic Monkeys and Foals, was brought in on this album and his mark is penetratingly clear. While the album as a whole remains energetic, it encompasses a denser and darker atmosphere. Ford has hardened up Webb’s dreamy riffs in a way that presents maturity and competency. The psychedelic touches Webb has previously tried to achieve are succeeded in much more confidence. Single ‘L’Heure de Sorcieres’, which literally translates to ‘The Witches Hour’, is a fuzzy, enigmatic track that is just as disjointed as it is structured. Curvaceous basslines underline a melody that repeats itself in and out of consciousness. Webb’s androgynous vocals consistently swing in and out of audibility, with static guitar riffs washing over layers of synths and other peculiar noises.

The result is an outlandish marriage of traditional indie-pop with well executed psychedelia. Opening track ‘Drink Wine’ greets the listener with upbeat, synth-heavy vibes that are catchy enough to be commercially mainstream, except Webb branches out from the genre with the inclusion of layered vocal tracks and an ever changing tempo that subtly speeds up in moments, making the track wholly unpredictable. It is spirited and dynamic and perfectly demonstrates the sophistication of the songwriting on Everything is Forgotten.

‘Summer Moon’ and ‘Weeds Through The Rind’ are other examples of the band’s ability to write distinctly infectious melodies while maintaining a haunting vibe. ‘Weeds Through The Rind’ is a beautifully constructed track, that weaves in and out of a consistent drum-track as Webb’s gentle vocals sit at the depth of the instrumentation, crooning in and out of a trippy exploration into the waters of psych-indie.

It’s not all commercially viable experimentation though. Webb has also bore some tracks that are determinedly “out-there” and even draw on particulars from progressive giants such as Pink Floyd. ‘Groundswell’ is a strong example of Webb’s desire to push himself out of his comfort zone on this album. It opens with jangling, unearthly organs that appear in the distance, before Webb’s vocals kick in a slow, mysterious current and vivid synth-pop ringing. The track is mellow and eerily inviting, unlike other tracks such as ‘Hyakki Yako’ which embodies a darker and somewhat uncomfortable melody.

Methel Ethyl have assuredly presented themselves as seasoned musicians in this genre with Everything is Forgotten. The combination of Ford’s impeccable production skills with Webb’s outlandish instrumentation and penetrating vocals have turned the band’s reputation from robust to cosmic in a swelling compilation of psychedelic investigation and invulnerable indie pop.

Sian Blewitt

Read our recent New Music Q&A with Jake HERE. 

Facebook: facebook.com/methylethel
Twitter: twitter.com/methylethel
Instagram: instagram.com/methylethel