Jonathan Rado's talents are many, but his gift for pastiche has always been especially striking. This was the entire mission statement when
Rado was getting his start as one-half of
Foxygen, an indie band whose earliest songs were lo-fi collages that felt like turning the radio dial in an alternate reality where the only the best classic rock and '60s pop were on every station. His first solo album, 2013's ramshackle
Law & Order, appropriated something new on nearly every track, re-creating psychedelic country one moment and fuzzy chamber pop the next. In the time since,
Rado emerged as a sought-after producer, bringing his fine-tuned ear to sessions with
Weyes Blood,
Father John Misty, and many others, and creating several more volumes of always-different
Foxygen output before the band called it quits in 2019.
For Who the Bell Tolls For is
Rado's first fully solo statement since
Law & Order, and this time around he's deep in the
Eno zone. The nearly seven-minute title track that starts the album has the same slightly warped pop sensibilities as
Eno's "rock" records, building arrangements on circular melodies that somehow manage to be both heavenly and distraught. It's a very specific feeling borrowed directly from
Another Green World, but it translated into
Rado's production voice with glimmering synths and stacked vocal harmonies. "Farther Away" shifts to a deranged minimal funk similar to the kind
Eno helped craft for
Bowie's Berlin records.
Rado marries various Enoisms to other reference points throughout, landing somewhere between
Harry Nilsson,
John Cale, and
John Lennon on "Easier," a touching tribute to his late production mentor
Richard Swift.
Rado's singing has improved significantly since his last solo effort. On "Don't Wait Too Long," controlled vocals make the song shine, bringing out more personality in a tune modeled after similar '80s radio pop sounds as those
Foxygen mined on their 2019 swan song,
Seeing Other People. Help from members of
the Lemon Twigs adds a hint of glam here and there, and
Rado's songwriting lens widens to include nods to
Prince,
Rain Dogs-era
Tom Waits, and
Warren Zevon, all tied together with loose, reverb-appreciative analog production. There's a somber tone just under the surface, rising up pronouncedly on instrumental closer "Yer Funeral," but there's more joy than grief in
For Who the Bell Tolls For. It's a guided tour through some of the favorite inspirations of an avid sound collector, easily as enjoyable as
Foxygen's best work of a similar nature, but showing more restraint as well as a new willingness on
Rado's part to step out from behind the curtain and vulnerably share difficult emotions. ~ Fred Thomas