Formed by songwriter John Lennox after cutting his teeth in Montreal’s mid-2000 scene, Chicago’s Panoramic & True deals a heavy and often orchestrated brand of pop: it is overdriven dirt and shimmer, explosive tom drum rolls, high modern chamber pieces; it’s rock music with a wide-angle lens. Together, the group embellished Lennox’s attic studio of castaway analog gear and spent the winter of 2012 recording the blend of garage, 60s soul, British Invasion, and indie pop that would become Wonderlust.
Wonderlust, released July 20 on Raymond Roussel Records, exceeds expectations: 14 tight tracks of buzzing guitar hooks and cinematic orchestration that bed Lennox’s confident “honey voice” (Chicago Reader) as he looks out the window with mixed wonder and dismay: “a week of good health / pin your hair back / get some new clothes for yourself / get ‘em black on black” (“A Week of Good Health”). Dark yet quizzical, the mercurial tone of Wonderlust allows heavy noise pop (“Pretty Faces”) to stand with songwriterly piano ballad (“Token Resistance”) and dirty psych dirge (“A Hold On You”), all three united in “Dakota Child,” in which a noirish 1958 Hammond funeral organ leads a fugitive charge across the country that leaves only broken dreams in its wake.
The world of Wonderlust, partly inspired by the surrealist novels of Max Ernst, spans nature and city, love and industry; it’s peopled by mystic hunters, farmhand philosophers, seaside goddesses, crusading protesters, mystic angels living in fire, and Lennox himself as he digs deep and finds repulsion and marvel in the modern world. Cues taken from introspective early 70s Dylan as well as from contemporaries Frog Eyes and Bill Callahan inform Wonderlust and what it offers: imaginative engagement without illusion. Once the illusions are gone, we see things as they are: “the prayer is answered as soon as you ask it / the carpenter makes both cradles and caskets” (“House Carpenter”). Armed with this knowledge, Wonderlust will grace stargazing road trips, metropolitan hikes, and late nights by the turntable with a complex joy.
Wonderlust’s arrangement, the culmination of Lennox’s five years writing for string quartet, also sets it apart: as they dive and soar, the strings evoke Ben E. King or the intimate side of John Lennon. Joining the glimmering Rhodes and organ as supportive color, they eerily lift the songs and give Panoramic & True its unique sound: warm, electrifying—a summer storm that inspires exaltation.
Including the string quartet Panoramic & True is John Lennox (guitar, vocals), Jamie Carter (guitar), Patrick Pritchett (bass), Daniel Majid (drums), A.J. Bautista (violin), Amanda Bautista (violin), Randy Mollner (viola), and April Savage (cello).
