BeatRoute Magazine BC Edition February 2019

MUSIC REVIEWS
Homeshake
Helium
Sinderlyn Records
It’s ironic that in this day and age, when the ability
to produce high-quality recordings is just a local
studio booking away, DIY music continues to
grow in popularity. Rather than spotlighting the
technicalities, “lo-fi” musicians embrace human
imperfection and put an emphasis on pure emotion
and artistry. Their subdued approach creates a
distinct vibe and overall earnestness, resulting in
music that sounds, thinks and feels like the people
actually listening to it.
Montreal-based Peter Sagar is one of the best
examples today of a lo-fi musician who creates art
with a pulse. Formerly known as the touring guitarist
for Mac DeMarco, Sagar has since made a name
for himself with his dreamy, synth-pop project,
Homeshake. His fourth release, aptly entitled Helium,
is perhaps his most honest work to date; unlike his
previous work, Helium was recorded and mixed by
Sagar alone in his apartment. Making music without
worrying about external factors allowed Sagar to
proceed with a much clearer mental state.
Helium is a continuation of the buoyant synth
lines, tranquil guitar riffs and hypnotic tones that
were last heard on 2017’s Fresh Air. But whereas
the previous record adhered to the formalities of
notes and chords, Helium gives precedence to rich
textures, timbre, and atmosphere. Sagar trades in the
accessibility of conventionalism for the accessibility
of emotion, resulting in an intimate record that
encapsulates Homeshake’s unique brand of R&Binfused,
lo-fi pop.
The definitive song of the album is “Like Mariah,” a
surprisingly charming ode to one of Sagar’s favourite
musicians. Like the R&B songstress, Sagar stretches
the limits of his vocal range and sings in the upper
registers. Although he impresses with his best Mariah
Carey-lite notes, Sagar admits to having insecurities
about his voice. In his lyrics he wistfully imagines
what it would be like to be a musician of Carey’s
caliber, fantasizing about possessing her talent and
fame. His quivering voice expresses a mixture of
yearning and disappointment when he realizes that
this scenario would only increase his loneliness.
Layered between silky synths and a full-bodied
bassline, the song sounds both relaxing and eerie,
exposing a very human vulnerability that contrasts
the glamorous image his idol projects.
The R&B influence continues to flow throughout
the rest of Helium, but it crops up in unexpected
ways. Unlike the typical, virile crooner, Sagar isn’t
writing party anthems or songs that promote his
sexual prowess. Instead, he reworks the conventions
of the R&B genre to reflect his own thoughtful
meditations. On the track “Just Like My,” a crunching,
Nineties boom-bap maintains a dominant presence
and is juxtaposed with Sagar’s lofty voice. And from
the frantic and fragmented lyrics, it’s clear that Sagar
isn’t concerned with crafting a perfect image of
himself: he separates himself from the outside world
to the point at which he isn’t sure whether or not
it’s a Sunday. This then prompts him to compare his
fading memory to that of his 98-year-old grandma.
It’s an interesting inversion that underscores just how
far removed Sagar is from accepted norms.
One song that isn’t as weighed down by heavy
synths or themes is “Nothing Could Be Better,” a
romantic ballad sung in a falsetto quaver. With its
memorable hook, the track stands out as the one
that most closely resembles a conventional pop song.
Sagar employs an accessible set of lyrics and croons
about ditching a social function to be with the one
he loves. With each verse he grows increasingly
honest, even hoping that he’ll never blink so that
he could stare into his lover’s eyes forever. The sense
of isolation that permeates the rest of the album is
gone, and the tone is self-assured and blithe. Once
he’s alone with his sweetheart, Sagar unshackles
himself from his uneasy feelings and proclaims, “Got
me smiling finally / Got no reason to be sad.”
Which isn’t to say that the rest of the album is
morose or lacking in confidence. Woven into the
14-song tracklist is a series of instrumental interludes,
including “Early,” “Heartburn,” “Trudi and Lou”
and “Couch Cushion.” Here Sagar seems to take
cues from Japanese ambient composer Haruomi
Hosono, crafting songs that could easily fit into the
soundtrack of a MUJI store. They may not stand
out on their own, but the tracks add to the album’s
overall meditative soundscape. Their woozy, slowchurning
grooves move at an unhurried pace and
reinforce the dream-like state that Sagar inhabits.
Sentient and sincere, the songs reflect Sagar’s desire
to build his own world amidst the confusion and
overstimulation of the present. And this is exactly
what Homeshake sets out to do with Helium: Sagar
is responding to his shifting, existing environment
by creating spaces of serenity or stillness. His reality
may be cold and often alienating, but there is a
comforting repose that accompanies his solitude.
Helium’s brooding yet tender ambient pop is a
worthy addition to Sagar’s body of work.
Whether you’re mellowing out alone in your room
or roaming around in a crowded city, Homeshake’s
music is the type to lose yourself in.
• Karina Espinosa
• Illustration by Michael Markowsky
(@MarkowskyArt)
February 2019 33