Album Review: Washed Out - Purple Noon

Apart from the glossy synths which heavily garnish the foreground, heartache and emotional turmoil continuously shine through on the latest Washed Out album Purple Noon.

It’s been good 3 years since South Carolina’s Ernest Greene has released a full-length project. His previous, “Mister Mellow” felt like a sonic wonderland where listeners seamlessly lost themselves in the midst of outlandish samples. That was certainly some of Greene’s most memorable production by virtue of the delicate drift away from his “weightless” sound, and because of the technical aptitude displayed from start to finish. On Purple Noon it’s the songwriting and vocal melodies that seem to take center stage, making it no surprise why this is Washed Out’s most personal LP to date.

According to a recent Instagram post, the album was heavily influenced by the scenic allure of the Greek Isles – particularly Santorini which is well known for the tangerine sunsets that light up the sea and sky. The lead single and the opening track “Too Late” serves as a wonderful exhibition of this exotic charm. You can easily imagine this as the backing track of an intense romance scene by the amount of passion and verve behind the vocal performance in the chorus. From the signature drum fills, to the well rounded instrumentation, “Too Late” sets the tone for what you’re about to get yourself into. What I do find quite unfortunate however is the fact that a bulk of the most memorable moments nestle within the opening stages of Purple Noon, with the most striking track being the first.

The second track “Face Up” is actually how we became acquainted with the ‘new’ Washed Out sound since it was released back in 2018, way before the album was even announced. When it comes to the mix, “Face up” protrudes immaculately with its vintage and Vaporwave-esque aesthetic compared to the rest of the pristine mixes on the album. Wowzers! In an instance we’re taken from tranquillity to exceptional vigor in the final moments. The previously dormant drums erupt and emit life into the track, and this dramatic section is adorned with dreamy bells decking the backdrop. Lyrically, the “Face Up” ties in with the colorful “Time to Walk Away” as he questions the stability of the relationship and how the union brings more pain than pleasure, resulting in an unconvinced desire to leave. Washed Out has an incredible knack to conjure these gripping vocal melodies which stick in your head for hours on end, and “Time to Walk Away” is a superb example of this. Good luck tryna forget this.

As soon as we get to “Paralyzed”, this is when some of the most subdued moments of Purple Noon begin tumbling out like recess-deprived kids. ‘Mawkish’ is definitely a top option if you’re looking for words to describe the songwriting here. The awkward rendezvous between the bass and the clunky drums even make Ernest’s voice sound a bit out of place. And when the chorus hits, the pads uncomfortably saturate the stereo field to the point where the vocals are virtually clashing with these overbearing synths. The blemish of oversentimentality I brought up continues to cripple Washed Out’s lyricism and songwriting, not *entirely* because of his delivery but because it drags on for far too long in the project.    

A part of me is slightly surprised how tracks like “Leave You Behind” and “Don’t Go” made it on the tracklist. The two seem like demos with their skeletal and minimalist stature, and when they break into the chorus they make a feeble attempt to become grand – an attempt that isn’t really convincing. “Hide” immediately picks up the mood thanks to its pulsating synths and its underlying 80’s allure. With each note that reverberates, the enchanting melody from the electric guitar enlivens this gem, to the point where I’m impatiently anticipating its return. “Hide” is such a lovely listening experience… Until you actually begin paying attention to the lyrics. They’re not bad per se, although thematically it sounds like a watered-down variation of “Face Up” and “Time to Walk Away”.  Particularly with the last line, “Is it time we stop?” which further heightens the (eventually) exhausted narrative of an unconvinced desire to leave.

Even though the project does become plagued by monotony when we arrive at the halfway mark, it’s the kind of album that definitely grows on you. You’re bound to catch yourself casually humming a tune from Purple Noon due to the unavoidable residue from Washed Out’s sticky vocal melodies. It’s great that Ernest stretches himself every time he releases a new album; he continuously gives the audience a dose of something new while preserving that Washed Out formula we all know and love.