12 Songs, 49 Minutes

EDITORS’ NOTES

The former Split Enz and Crowded House frontman joins up with Flaming Lips’ producer Dave Fridmann for an album that’s pure psychedelic pop, circa 2014. Finn writes indelible melodies, and Fridmann orchestrates ideas until they reach an alternate universe. And Fridmann makes his presence felt here; the experimental sense of “Divebomber” sounds far crazier and headier than anything Finn’s imagined on his own. Yet “Flying in the Face of Love” and “Better Than TV” center on melodies that only a true pop craftsman could write in his sleep. Recorded between Finn’s Auckland studio (Roundhead) and Fridmann’s upstate New York studio (Tarbox Road), Dizzy Heights is an album that takes multiple listens to fully appreciate. Finn’s previous music was often about immediacy, but here the flavors aren’t always at the surface. “Pony Ride” has a naturally appealing rhythmic drive, but only headphones reveal the intricacies lurking in the gorgeous stereo soundscape. Finn’s falsetto on “Recluse” recalls Curtis Mayfield's soul as much as Wayne Coyne’s trippy stylings, all coming to life in the context of Finn’s refined and classic New Zealand pop.

EDITORS’ NOTES

The former Split Enz and Crowded House frontman joins up with Flaming Lips’ producer Dave Fridmann for an album that’s pure psychedelic pop, circa 2014. Finn writes indelible melodies, and Fridmann orchestrates ideas until they reach an alternate universe. And Fridmann makes his presence felt here; the experimental sense of “Divebomber” sounds far crazier and headier than anything Finn’s imagined on his own. Yet “Flying in the Face of Love” and “Better Than TV” center on melodies that only a true pop craftsman could write in his sleep. Recorded between Finn’s Auckland studio (Roundhead) and Fridmann’s upstate New York studio (Tarbox Road), Dizzy Heights is an album that takes multiple listens to fully appreciate. Finn’s previous music was often about immediacy, but here the flavors aren’t always at the surface. “Pony Ride” has a naturally appealing rhythmic drive, but only headphones reveal the intricacies lurking in the gorgeous stereo soundscape. Finn’s falsetto on “Recluse” recalls Curtis Mayfield's soul as much as Wayne Coyne’s trippy stylings, all coming to life in the context of Finn’s refined and classic New Zealand pop.

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