BAIO – Man Of The World Review


Chris Baio has done a fine job of establishing himself as a solo artist after being the bassist of Vampire Weekend. His album debut The Names received a positive response for its imaginative structures, eccentric lyrics and varied sound. With it, he proved that he is a true purveyor of fine music. His new album was written and co-produced by Chris in Brixton amidst the chaos of 2016; from the death of David Bowie to the great political upheavals that developed throughout the year. This all occurred whilst he was “a nomad” as an American in London and this new album is very much his view of such events. 

‘Philosophy’ is the first single from his new album and is a rhythmic track laden with horn based hooks and loose riffs. The sound he’s created has a greater sense of ease to it and Chris’ measured vocals mirror this to form a slick piece of music. This track has a keen sense of melody and again Chris demonstrates his ability to form hooks from unusual sources. The track marries its lower and higher tones perfectly; the horns play off the jangling riffs and the vocal rounds mirror the high notes against the low. Ringing electronica and crisp percussion bridge the gap between the two and make the progress of the song seamless. ‘DANGEROUE ANAMAL’ is the polar opposite to the light faux funk of ‘Philosophy’ with drooping piano chords, echoed percussiona and an intricate set of electronica meandering in the background. This track is about wing lost and being unable to effect any change on several issues and it being ultimately “too late to change”. It is a dark and thought provoking song that shrouds itself with its music to only heighten the message of the song. ‘Out of Tune’ is a pepped up single with opaque synth chords and cheesy trumpets mirroring the vocals. The song struggles to settle and get into some sort of rhythm though once the song sticks with the chorus, the song begins to make more sense and ends with a flash of coherence.

‘Sensitive Guy’ is more akin to tracks from The Names with its sparse, echoed percussion and spiky piano chords. What sets it apart from that are the sharp riffs overlayed onto the track as well as occasional rumbling bass interludes and backing vocals that are brought to the fore of the track. A track that is familiar, but different enough from his last body of work. The title track is a swagging piece of electronica that has echoes of late Eighties Dance music with blocky, bouncing beats. These are tied with Latin acoustic riffs and heavily churning effects that distort and twist the music at its building conclusion. His spoken lyrics pull the songs focus in and keep the listener on their toes. It is a track that exemplifies his development as a solo musician. The album opens with the sea of distorted chords of ‘Vin Mariani’ which has brass and vocals layered over it. It is a creative foundation from which the rest of the song can do whatever it wants. The remaining tracks including the final two of the album are tracks that feature heavily distorted features that feature some experimentation in fusing them with Pop melodies and hooks. They work in parts and overwhelm the senses in others. These are the only pitfalls of the album; experimentation will naturally produce tracks that don’t work so well and that is the case here with a handful of tracks, but the album as a whole is varied in tone and features a lot of trial and error that had paid off. Baio clearly has an ear for alternative hooks and melodies and he puts them to good use here for what is a natural and substantial evolution to this sound. 

BAIO – Man of the World = 8/10

Owen Riddle

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