bunkhaus - Between Lives

bunkhaus

Between Lives
self-released; 2024

3.9 out of 5 

By Jamie Funk

Bunkhaus, the collaborative project of Carlo Maltempi and Dr. Neil Anderson-Himmelspach, crafts a sound that oscillates between the moody introspection of lo-fi and the raw intimacy of stripped-down acoustic sessions. Their latest release, Between Lives, unfolds like a series of private vignettes, each song a fleeting glimpse into a world painted with minimal brushstrokes of guitar and voice, with New York and Texas as the backdrop.

The album opens with “Cortège,” where strummed acoustic guitar meets ethereal pads, setting a melancholic tone that pervades much of the record. The vocals here, evocative of Dan Bejar’s plaintive delivery in Destroyer, echo throughout the album, establishing a sense of continuity even as the emotional landscape remains consistently somber. “250 RPMS” breaks the pattern slightly with a vocal melody that feels almost buoyant, though the absence of drums leaves the track feeling a touch sparse. Still, the lo-fi aesthetic serves the song’s dynamic looseness, giving it a spontaneous, almost live quality.

“The 4th of January” plunges into even deeper lo-fi territory, tinged with Pink Floyd-like atmospherics, while “Mascara Ghost” stands out as the album's poppiest moment, its hook demanding attention despite the slightly buried vocals. The quiet beauty of “I See Your Autumn Skin” underscores the album’s most introspective tendencies, a delicate balance of melancholy and grace. As Between Lives progresses, the variations in fidelity become more pronounced, with tracks like “At the Bunkhouse” fully embracing the lo-fi ethos.

“Silent Alarm” is a testament to the power of intimacy, where the stripped-back production brings the song’s emotional core to the forefront. “Sairs Ave.” offers a more experimental soundscape, diverging from the album’s acoustic center, while “Freudenfreude” delivers lyrically rich content, with lines like “Calibrate your longing the hair clip evidence, Question the coroners offering, The alien in your neighbors clothing” sticking out as particularly evocative. Closing out the album is “Pigeons Grave,” a track that leaves a lasting impression with its beautiful piano coda. Throughout the album, echoes of Elliott Smith, Sufjan Stevens, and Destroyer are apparent, but Bunkhaus manages to carve out a space that feels distinctly their own.

​While a few tracks could benefit from a touch more clarity, the overall effect is a collection of songs that are both compelling and deeply resonant. Between Lives invites repeated listens, each one revealing more of its subtle intricacies.

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