4 out of 5

Label: Merge Records

Produced by: Josh Kaufman

With the Califone / Red Red Meat crew spreading out to multiple projects on the Perishable label, it felt like a comparative stretch of time between Eric D. Johnson’s Fruit Bats debut on that imprint and its followup, though it was really only two years. That followup, on Sub Pop, was a bit of a musical shift, though, syncing Johnson’s nostalgic folk to the Shins-y pop that was a hit at the time, and set something of a precedent: whenever there was a longer gap between releases – which otherwise came out on a yearly / bi-yearly brisk pace – it suggested the next album (because there always will be one!) would be a bit different.

To sidestep that for a moment, though, excepting the creakier Perishable influences of Echolocation, “different” is by degrees: Johnson will never not have a glittery, jam-rock, folksy sprinkle to his music, and his summertime wistful voice is immediately identifiable, alongside his inoffensive descriptions of days gone and love lost and hopes around corners. But here and there we find musical focus changing; lyrics sharpening.

So at points we became Beatles-y; more contemplative and weightier folk; indie-fied bittersweet pop. These may be synonyms in some ways, but thanks to the bevy of music Johnson and his bandmates have provided, we have quite a bit to compare from his oeuvre, and the aforemention “by degrees” becomes quite noticeable. Also, it helps a listener to appreciate how much good music EDJ has been able to milk out of these seemingly simple elements.

The Pet Parade doesn’t break from an overall style tics, but if does break the gap-and-change rule: coming on the heels of three other releases within a two year span, things start off pretty traditional with the title track, but it blows up in scope for its last passage in a fittingly Beach Boys-esque bit of brightness: this is maybe the fullest band sound Fruit Bats have ever achieved, and it is glorious.

…Maybe we can look to new home Merge Records as a catalyst of that sound; perhaps it’s the new blood of producer Josh Kaufman, with whom plays in folk outfit Bonny Light Horseman. Or maybe it’s the 90s bug biting EDJ from Bats’ preceding cover of Siamese Dream, as The Pet Parade has a kind of throw-back to those earliest FB albums – Echolocation, Moutfuls – with the writing feeling a bit more direct and bold, versus the strolling pace normally kept on the majority of the band’s catalogue.

That stroll can still be found, probably on about half of the album, but even there – those quieter, more introspective tracks – the songs feel streamlined, in a very positive way. It’s all the qualities we fans have definitely enjoyed across these subtle permutations (inclusive of what I might criticize – some soundalike tunes and open-ended lyrics), sharpened into tunes that are very happy to be here. As a 20th year celebration, I suppose it feels like the full embrace of what I paranthetically mentioned above: EDJ is going to keep making music, because he loves his inspirations, and he loves the tunes it’s encouraged him to make. The Pet Parade is a celebration of that, and I love we get to join in on it.