It’s not often that an album comes out that borders on impossible to classify into one genre or another. “Mirror Traffic,” a new release from Stephen Malkmus and the Jicks, dabbles in several genres, from rock ‘n’ roll and country to folk and indie rock. “Mirror Traffic” is a fast-paced album that challenges the listener to keep up with numerous style changes across its 15 tracks.
At first glance, the length and sheer amount of songs on the album may be intimidating. At 50 minutes long, “Mirror Traffic” is quite a hefty album. However, if the listener takes it a bit at a time, this set of solid tracks can be quite rewarding in its multi-genre approach and overall rockery.
“Tigers,” the first song on the album, is a good representation of the core elements of the album: well-executed riffs and guitar solos, clever but hard-to-grasp lyrics and occasionally startling style changes. In the case of “Tigers,” the surprise comes in the form of a decidedly country-esque slide guitar.
Just when the listener thinks it’s time to settle in for a southern-tinged rock record, Malkmus makes an about-face with “No One Is (As I Are Be),” a solemn folk ballad that is just as well-done as “Tigers.” Such abrupt and polar style shifts occur regularly on this album.
Another constant on “Mirror Traffic” is clever songwriting. “Senator” is a biting and sarcastic song in which Malkmus sings about a senator whose desires are most certainly not related to the benefit of the public.
“Spazz” is, like the title implies, a chaotic, stream of consciousness song featuring some odd but funny observations in the midst of about five sudden melodic changes: “I’m too old to play capture the flag / Someone’s giving French kiss lessons / How else will we learn to love?”
Unfortunately, the sheer volume of songs on the album as well as Malkmus’ limited vocal range (he sounds like a more rock-oriented Ben Kweller) sometimes brings “Mirror Traffic” dangerously close to repetitive. The multiple musical styles on the album are, in fact, what keep these factors from running “Mirror Traffic” into the ground.
One track that particularly helps to keep the album from becoming monotonous is “Jumblegloss,” a short, beautiful and ethereal instrumental track in the middle of the set of songs which serves to cleanse the listener’s musical palate before another round of carousing rock songs.
While the many musical styles and Malkmus’ limited vocal range at times strain the album’s ability to keep the listener’s attention, “Mirror Traffic” is on the whole an exciting and well-executed album that will entertain fans of almost any musical genre.
Email Bain at abain@media.ucla.edu.