Stranger to Stranger by Paul Simon
Style: Art Pop, Folk Rock
Release, June 3, 2016
Length: 37 min.
Stranger to Stranger
Paul Simon has been a huge favorite of mine ever since I saw his episode of The Muppet Show at a young age in my life. I always look forward to a new Paul Simon album because he never has a bad one. There's always something to write home about. Stranger to Stranger is a complete surprise. It may be his best since Graceland.
Upon the first note, I became aware of the careful artistic turn that Paul Simon so easily placed in the opening track, “Werewolf.” I am reminded of the Lynyrd Skynyrd style song by Warren Zevon: “Werewolves of London.” I am also reminded of how much that song annoys me and of how different this song is: It is more artistic, very lyrically clever, and captures the essence of earlier Paul Simon songs perfectly. “Wristband” carries the same arti9stic sound, bordering on the worldbeat aura of Graceland but clearly more fit for the indie and art pop lovers of the 2010's. It seems that the lyrics are just and cryptic, but they do not seem to have the same strong sense of a “hidden meaning” in “Wristband.” Still, the song is very well worth the listen. “The Clock,” which starts with a ticking clock paired with a carefully and exquisitely times guitar, is a nice little minute that's very relaxing. Still, it's simple filler. The next song is much more energetic: “Street Angel.” It carries Paul Simon's famous rambling style, and has hard drumming backed up by atmospheric and quiet instruments and distorted deep vocals. Definitely one of the best songs on the album. The title track is a more soothing and relaxing song, backed up by heavily produced violins that are perfect for the modern era's newfound styles of music, absolutely perfect for being up in the ranks with albums like A Moon Shaped Pool. The softness, the chimes, and Paul Simon's hidden meanings are all at their prime in that song. And this half of the album ends with the tribal “In a Parade,” which sounds like a parade of tribal instruments.
“Proof of Love,” that's a hard one to describe. Imagine yourself in a wooden boat, in a river of tears, surrounded by dark green trees, but up above is an amazing daytime mountain view. That's this kind of song. A happy little Bob Ross painting. Whoa. The most amazing song on the album. The nest song, “In the Garden of Edie,” is an acoustic instrumental that knows nothing except for beauty, a better instrumental solo than the intro to Roundabout. The next song is “The Riverbank,” a more excitable track than the rest. Even if it doesn't reach the amazement of most of the previous tracks, it has a very enjoyable sound. “Cool Papa Bell” is one of the worst songs, but it is definitely not fiuller, it's a fun, lovable, soft and eccentric little piece of art that is the most “Simon” song on the album. Weird, but good. It's also a rare occasion for you to hear Paul Simon drop an f-bomb. Finally, “Insomniac;s Lullaby” is a very beautiful lullaby. It's perfect for ending the album, and I think songs like that are proof that the album is worth much more than just one listen.
Paul Simon's voice is 95% similar to his voice during the 70's and 80's. His sense of art and poetic cryptology have not faded. And his keen sense of music is as strong as ever. This album is different because... in it's own folk-rock induced way, the album is ironically gripping in a nearly dauntless manner, and the softer moments are perfectly calm. I honestly think this is one of Paul Simon's best, as well as one of the best albums of 2016.
97/100