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Josh Scott, the brains behind the operation of Aero Flynn, has been back and forth on his willingness to put his music out there in the world for years. Thankfully for an adoring public however, he has been persuaded by co-producer and friend Justin Vernon (Bon Iver), and this debut is a highly capable wash of ethereal tunes. Red vinyl!

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Aero Flynn by Aero Flynn 1 review. Add your own review. 8/10
10 people love this record. Be the 11th!

8/10 Staff review, 01 July 2015

An alum of Justin Vernon’s friendship circle (so, only a couple of degrees of separation from Kanye, then) Josh Scott has shied away from releasing his music for a very long time. With the backing of his famous folkie friend, he’s opted to go again, ditching the Amateur Love name for his first release as Aero Flynn. It’s typical that his reluctance is aired out on record: amidst the throes of skittering, urgent instrumentation and quietly dramatic acoustic fumblings, you can hear him whimpering towards the centre stage, humming and mumbling his songs as if they aren’t worth believing in.

The result is quite nice: a paranoid slice of indie rock in the vein of mid-era Radiohead, or Arcade Fire pedalled back a bit on the gain. Ultimately, though, this record most closely resembles Strand of Oaks’ masterful ‘HEAL’, a record about fighting depression that felt like it’d been self-anointed as stadium rock. Much like Oaks’ Timothy Showalter, Scott sounds like he’s coming back from something on this record, exhaling boisterous vocal performances over songs that start nimbly but climax in a wash of synths and storied guitars.

Scott doesn’t concentrate too much on one genre pastiche, but instead goes for huge solutions to his songs’ quiet problems: at once you can hear him place shifting synth chords next to thrilling, distorted riffs moment, and in the next life you can hear his hands nimbly working their way down the frets, like Ben Howard on a summer folk hype. There are times, too, when the beats ram the record’s tempo up to the point where it sounds like Thom Yorke doing downtempo house. It all comes together as a record that feels both emotionally compelling and strangely anonymous. Bon Iver approves and so do we, and if you can’t trust us, trust in Wisconsin.



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