Perdido Nino dives into a joyously demented cavalcade on the woozy psychedelic leanings of “Presents! Sparky Magnussen’s Irresponsible Effervescence”. The title does a great job in depicting the wonderful journey that Perdido Nino takes you on, from the lilting guitar work to the surrealist lyricism it all works in unison. Genre-hopping happens with gleeful abandon from track to track. Funk, psychedelic rock, surf rock, ragas, folk, truly everything and they do it all justice. It is a testament to their musical chops that they deftly manage to tie all of these many influences together into a cohesive whole. Humor proves to be an important unifying factor throughout the album for their giddiness and sheer glee are infectious.
Frank Zappa’s “We’re Only In It For The Money” proves to be a particularly strong influence throughout, for, like his work, they are able to balance surprisingly sophisticated arrangements alongside the silliest verses uttered in quite a long time. The tightness of the playing at times also tends to draw from his uncanny singular vision. On the more modern influences comes the tender loopy dexterity of Connan Mockasin for the guitar riffs have their own way of evolving, emotional as much as formal. So much color is brought into the fray resulting in a stylish sound that can truly be called theirs and theirs alone.
“Spark Magnussen’s Spectacular Spiel” strongly resembles the Mothers of Invention’s sheer absurdity, and they double down on this impulse with “The 24 Capreses”. Limber whistling works alongside the driving rhythm of “J-Diggity Dogwalk” where the guitar athletics add to its generally cheerful disposition. On the impossibly named “Dr. Brianstine’s Boogie Woogie Waltz” they let things linger on a bit. The elements of soft rock and gliding funk make it one of the highlights of the album, with the drum work in particular rather gorgeous. Staccato vocals reign supreme on the oddly bluesy spirit of “Rise Above” where a hint of the triumphant takes hold.
Nimble drumming adds to the frantic energy of “Let’s Get Stupid”. Wah-wah guitars work overtime as the surf rock inflections further add to its disorienting experience, like a Dick Dale riff gone wacky. Pure punk fury rages through on the mosh energy of “Apple Punch” where they have an almost Mr. Bungle acid-fried weirdness to it. Rather gentle, “A Lil Dabba Dooya” has a sun-drenched AM pop beauty to it. Incredible to behold “East West Side Story” features a hypnotic groove that they tease out for a sprawling duration, virtually dilating the sense of time. Delicate melodies make “Angel Baroque in E Major” one of the kinder, more reflective moments on the album. Returning back to the weirdness of the opener “Sparky Can’t Come to the Phone Right Now” closes the album off with a tongue in cheek humor.
A true delight in absolutely every sense of the word, Perdido Nino takes their work to the next level of kaleidoscopic stylistic mixing on the impossible to pigeonhole bliss of “Presents! Sparky Magnussen’s Irresponsible Effervescence”.