Paul Erik Lipp, aka Evening Man, lives a world where our most intimate stories of love and loss are soundtracked with danceable beats and powerful synthesizers. Lipp populates the nine tracks on The Last Night with so many electro-pop elements that it is damn-near impossible not to be sucked into his vortex of rhythmic storytelling.
Lipp supposedly composed the album entirely in a one-room artists’ cottage in Connecticut during a winter that I have to imagine was pretty brutal. There was plenty of time for Lipp to reflect on some pretty painful lovers’ tales. Time for him to layer beats and sounds on top of one another. Sufficient repose to construct songs that sound like they could exist anytime in the 80’s but somehow also sound futuristic.
There is so much to digest on The Last Night. The chimes and percussion that begin, fade away and re-enter on album-opener “Telegraph Peak”. The shotgun drums and crunchy synths of “Patrick and Joni”. The buzz and hum over a gorgeous melody on “29”. That’s just the first three tracks. I could name plenty of great things about all these songs.
Every inch of Evening Man’s debut swells with beauty — sometimes to the point of nearly overwhelming the ears. But it never crosses that line, thankfully, and leaves plenty to discover with each subsequent listen. There are so many wonderful touches here that it’s hard to pick just one or two standout tracks.
I recommend downloading the whole album (available for free on Evening Man’s bandcamp page) and letting all the sonic elements wash over you. This is music that’s to be experienced as much as listened to.
Listen to “Birdbrain” in its entirety. Then listen again. It’s hard to believe it’s one man, one song. Just incredible.