A ? of WHEN was inevitable. Reset, the 2022 album by longtime collaborators Panda Bear and Sonic Boom, was a joyful collection that felt like exactly what it was: the work of two wildly talented best bros riffing off one another’s strongest ideas. Enthusiasm was its defining characteristic: There’s Noah Lennox and Pete Kember’s mutual admiration, of course, but also their shared love of pre-British Invasion pop, complex vocal harmonies, and counterintuitive juxtapositions. Not many records could credibly birth both a dub version and a mariachi reimagining; Reset is not like most records.
With most of the juice finally squeezed from Reset, Lennox and Kember reconvened to figure out what else they might do. On their new album, the duo turns its attention to the downstream effects of living in a culture of convenience—not simply the intense impatience you feel when your item isn’t available for next-day shipping, but also the way that years of expecting instant change has corroded most of our souls. (That ethos extends to the album’s release: It’s only available to purchase via physical and digital formats, which makes the effort of seeking it out part of the experience.) While Reset was built from recordings of doo-wop and early rock, A ? of WHEN contains no samples. Instead, Lennox and Kember applied their collagist methodology to tapes they made of themselves and a few collaborators including harpist Mary Lattimore and Mariachi 2000 de Cutberto Pérez, the group behind the mariachi version of Reset.
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Where Reset seemed to float in time, suggesting a pop-music afterlife, A ? of WHEN floats in space, airy and breathable, its 10 songs like patiently constructed terrariums you have to walk around to fully experience. There are so many sources of percussion in “Revive him,” and they’re all barely doing anything: Woodblocks that sound once or twice, a tinkle of processed sleigh bell, careful snare rolls that feel pulled from a 19th-century classical score. Cumulatively, they give the song a kind of rhythmic base, but they function more like the dots in a John Baldessari painting, dramatically complicating the texture with their simplicity. In “Something like dreaming,” Lattimore’s harp dangles with the slow twist of an infant’s mobile while a tamboura hums nearby like a white noise machine. A cumbia shuffle plays at an ignorable volume in opener “Never givin’ in”; technically, its rhythm is the song’s engine, but it cedes dynamic primacy to the harp and sporadic handclaps.
A ? of WHEN is about consequences—the way they can loom over the present, the work we do to disregard them, the certainty that ignoring one’s ghosts makes their eventual appearance that much more terrifying. “A simple kind of mess in my soul/I want to skip right over that part,” Lennox sings in “Revive him,” “but I can’t.” That last phrase is repeated over and over, both a warning and a cause for optimism; even as a surge of noise threatens to swallow his voice, it never quite disappears, the sunniness of the melody suggesting there’s a form of freedom in simply dealing with your bullshit. On a busier record, one more concerned with forward momentum, that idea would risk getting lost. On A ? of WHEN, the persistent drones and spacious production suspend pressure, a formal echo of the lyrical concern with accepting the shape of the present.
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