Corridor Buzz Review of ‘In Direct Communication’
Keith Lynch, by self-definition, is indefinable.
Between his musical aim “to not go in a specific direction” and the anti-message on his newest album, In Direct Communication, which advises listeners to “stay away from any concrete views of the world,” Lynch lives up to the idiosyncrasy of his stage pseudonym: Unknown Component.
Paradoxes aside, Unknown Component will celebrate the release of its fifth album in five years at 9 p.m. Thursday at the Piano Lounge, 217 Iowa Ave.
Audiences will have two other chances to check out the Lynch’s acoustic and vocal prowess this month as he will perform a follow-up release party on Sept. 20 at Public Space One, 129 E. Washington St., and a Sept. 25 concert at the Picador, 330 E. Washington St.
“In Direct Communication branches out to directions I’ve never gone before and my upcoming shows will show that,” says Lynch, 27. “The only thing that I’ve really kept the same is my bare-bones recording software.”
Evenly distributed among piano serenades, synthesized orchestra vibratos, acoustic strums and electric solos, tracks from In Direct Communication harbor no sign of subpar production as implied by Lynch. The 10-track CD does, however, flaunt an array of instrumentally layered talent that rarely accumulates in one performer.
His vocals, on the other hand, are far less polished. While possibly abrasive to ears nurtured on digitized pop vocal hooks, his masterful punk tones and raspy high notes honor the underappreciated ranks of cigarette-smoking and chorus-screaming punk predecessors such as Green Day’s Billie Joe Armstrong or Jake Burns of the Stiff Little Fingers. Lynch’s intonation receives the same amplification as his instrumentals, resulting in lyrical modesty as his words drift in and out of aural perception.
“I rarely plan out the intricacies of the songs that I write,” says Lynch. “I mostly focus on a melody, words and then layer from there.”
Layering also applies outside his music, as his latest album’s title was intended for dual interpretations. Listeners should approach the contradictory title as “indirect communication” or “in direct communication” depending on their mood, Lynch says.
Some of Lynch’s paradoxical characteristics might be rooted in his study of philosophy at the University of Iowa, where he plans to earn his bachelor’s degree this fall. Independent thinking, however, seemingly dominated the mindset of the singer-songwriter long before college.
“I was usually the kid that got kicked out of music class,” says Lynch. “I still can’t tell you how to play a B-flat. My problem was people telling me what good music was and how to play it. How did they know what was good?”
Though ambivalence runs deep in Lynch’s expressions, he offers that his latest album as “better written” than his previous recordings.
Beyond that designation, however, his music, his message and even his stage name are intentionally left open for interpretation.
“Maybe someone will figure out the meaning behind ‘Unknown Component’ one day,” Lynch says. “If they do, I hope they clue me in.” -Cole Cheney
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