Wilco - Cousin
Wilco are a great example of what a band can strive to be. They currently self-release their music, they have their own studio, they curate two different music festivals, and they consistently try new things. Their continual experimenting and evolving has made for a very unique discography with many versions of Wilco’s idiosyncratic style. For instance, in 2014 they were their most trippy on Star Wars, in 2010 they were more jammy and loose on The Whole Love, and in 2019 they were more subtle and understated with Ode To Joy. It’s hard to know what to expect from a band like Wilco, and that’s a good thing.
I randomly found out about the announcement of Cousin at midnight before it was announced on any news outlets, leading me to listen to the single “Evicted”. I could already tell that this was an album that would appeal to any fan of Wilco. Even if you are looking for a Wilco album closer to that of their most mentioned records, such as the Grammy winning A Ghost Is Born or their most famous record Yankee Hotel Foxtrot, you will find it with Cousin. But, keep in mind that Wilco is not the same as they once were and they will not go back to that point. The expectation or narrative shouldn’t be that this is exactly like those records, but it feels like a record that is closer in style and intention to them while also being unique and inventive.
Wilco sound clearer on Cousin, with their current chemistry as a band exemplified and freshened by Cate Le Bon’s production. Having another musician produce the album, especially one with a similar experimental style, was a great idea. Not that their past five self-produced records have been bad, far from it. I just feel like the intentions of Cousin are clearer and play out with more fluidity in the way it sounds. It pays off throughout the record, making it consistently interesting and memorable even in the subtleties more recent Wilco records have depended on. While I don’t have chromesthesia, to me it sounds as colorful as the cover and lyric videos they released to promote the album. Yet, it is far from bubblegum pop or overstimulating electronica that often associates music with a lot of color in costumes or lighting. Wilco are their own world of sound here, actually sounding like their own version of pop music at times like on the album closer “Meant To Be”. But as experimental as Wilco is, they do not stick to a specific formula, but do stick to a specific style on Cousin. This new style for Wilco likely makes Cousin one of their most instantly appealing records for listeners new and old.
It has been a long time since Wilco have sounded as punk-esque as they have on songs like “Kicking Television” or “Let’s Not Get Carried Away” (outtakes featured on the compilation album Alpha Mike Foxtrot). But for a band reaching the thirty-year mark, what could be more punk than releasing an album of their own version of pop songs that actually require your attention and listening instead of being background music to a TikTok. Though I’m sure if Wilco was on your Tiktok you would stand out.
These songs appear to focus on navigating dissonance and numbness to find moments of true connection. The numbest being “Ten Dead”, which the band actually decided to not play live again after its live debut. Calling many of these songs dissonant or numb is not intended to be an insult. In fact, I feel as though it is such a universally present feeling that touching upon it with the genius lyricism and musicianship that Wilco offers is beautiful and comforting. For example, on “A Bowl and A Pudding” they find connection within a feeling of disconnection. The song is played out through a soothing light guitar drone and the feeling explained through Jeff’s lyrics. The main idea of the song is said first, “Not saying anything, says a lot”. Just like the album cover of Cousin featuring frozen flowers by Azuma Makoto, we become distant from true love and beauty within a cold world.