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The new record is sonically light-as-air and thematically as heavy as a bag of bricks. Greene has said he was influenced by the island culture of the Mediterranean, and named it after the 1960 film of the same name (which is also known for the book that inspired it and the 1999 film remake: “The Talented Mr. Ripley.”) It also pays homage to smooth music operators like Sade, ’80s-era Phil Collins and is heavy on melodramatic balladry that suits the windswept, luscious (and lusty) stories of flings, broken hearts, reconnection and isolation. Eventually, the themes of confusion and heartbreak begin to weigh on the listener, with too little escape built in.
It’s been three years since Ernest Greene released his last Washed Out album ‘Mister Mellow’. On ‘Mister Mellow’ Greene was experimenting with his sound more than on his previous two releases, with the songs exuding a hazy, playful vibe. It was the musical equivalent of walking into a club after a few drinks - you are euphorically woozy and when and the music just makes you smile. His new album ‘Purple Noon’ feels like the morning after. Everything isn’t as fun; some stuff went down you now have to sort out…
‘Purple Noon’ opens with ‘Too Late’. This is a downbeat beast. The beats are crisp. Greene’s vocals are full of remorse and longing as he laments about a past relationship that crumbled before his eyes but was unable to stop. This is a theme that Greene carries on throughout ‘Purple Noon’. It’s a musical version of the advance of the tide while making sandcastles. You know what is going to happen. You can briefly build a moat but eventually the tide wins and the sandcastle vanishes before your eyes. Making you question if you could have done more.
To this day, most people still think of Washed Out as the sweet prince of chillwave. It was a simpler time, the end of the ’00s, and Earnest Greene’s sun-kissed anthem ‘Feel It All Around’ (later adopted as the theme tune for Carrie Brownstein and Fred Armisen’s hipster parody Portlandia) perhaps summed it up best. Faced with a hulking great recession, the indie kids pivoted en masse to a lackadaisical, plimsoll scuffing kind of synth-pop defined by beachy escapism and an obsession with nostalgic analogue sounds. If only we had known back then what horrors awaited in the following decade.
All of Purple Noon is cloaked in gauzy synths and Washed Out’s equally gauzy vocals, which evenly coat the rest of the instrumentation most of the time without letting any one instrument other than the percussion stand out tie above. The album is like a weighted blanket that keeps you comfortable as the ocean rocks you back and forth.
Ernest Greene has announced a new Washed Out album. This one’s called Purple Noon and it’s out August 7 via Sub Pop. It marks his first album for Sub Pop since 2013’s Paracosm. (Greene’s previous Washed Out album, 2017’s Mister Mellow, was released via Stones Throw.) Purple Noon features the new song “Time to Walk Away,” which arrives with a new video by Australian director Riley Blakeway. Watch it below.
Washed Out has clung to chillwave ever since. Albums ‘Within and Without‘ and ‘Paracosm’, from 2011 and 2013, also rode on similarly half-audible vocals and lo-fi sounds. Greene’s 2017 record ‘Mister Mellow’, a visual album touching on burn-out culture and modern anxiety, experimented more with looser psychedelic touchstones, and occasional beats that bordered on hip-hop.
‘Mister Mellow’ was chillwave 2.0, trading in carefree frolics in the sand for an abundance of withering houseplants, waning economic prospects and a lifetime of extortionate tenancy fees ahead of it – and yet despite that, there was very little genuine peril on show. Greene’s music seemed increasingly interested in the lurking boredom that comes with the ‘Life of Leisure’ that he named his 2009 EP after.
Find physical editions of Washed Out’s Purple Noon at Rough Trade. (Pitchfork earns a commission from purchases made through affiliate links on our site.)