Will Wiesenfeld does not work in studios.
An electronic musician under the name of Baths, Wiesenfeld prefers to create in the privacy of his own house. But for the crowd at Union Transfer on Thursday night, Baths made an exception to come out of his bedroom and spellbind his audience with complex compositions and one of the purest falsettos out there.
An artist of the Anticon label, Wiesenfeld is on tour to promote his newest album, Obsidian. It is the follow-up to his debut record, Cerulean, a masterpiece collection of entrancing experimental pop that has often been grouped within the L.A. beat scene (a label with which Baths feels rather uncomfortable). Cerulean, released by Anticon in 2010, made Pitchfork’s “Album of the Year: Honorable Mention” list — a nomination which it certainly deserved.
But this time around, Baths has exposed a more enigmatic side. His tone has become deeper and darker, disregarding the breathlessness that defined Cerulean. He explores pain and confusion in his lyrics, introduces a fuller range of vocals, and includes some unexpected instrumentation. And it was this introspective mood — difficult, but just as valuable — that the twenty-four year old from California shared with the crowd at Union Transfer. Continue reading →